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In the book review titled "Book review: Tim Edensor, Landscape, Materiality and Heritage: An Object Biography," Nadia Bartolini discusses Tim Edensor's exploration of landscape, materiality, and heritage through the lens of the Barochan Cross. The cross, located in Scotland, holds personal significance for Edensor and serves as a catalyst for uncovering its life story. Edensor emphasizes that the cross has multiple stories and meanings, and he employs relational networks and assemblage theory to capture its complexity. The book delves into the cross's relationship with different landscapes and explores themes of heritage, authenticity, conservation, nationalism, and identity. Overall, Bartolini finds Edensor's account of the Barochan Cross to be captivating and inspiring, potentially motivating readers to explore the landscape and imagine alternative futures inspired by the cross. [Extracted from the article]

This review considers how rapid environmental change, generated through both inhuman natural forces and human-induced impacts, affects landscape futures and decision-making processes. To do this, we start by defining 'futures', and, more specifically, the different kinds of futures at stake in changing landscapes. We discuss how rapid environmental change not only puts immediate pressure on identifying alternative futures for landscapes, but also threatens to unsettle patterns of attachment to the landscape. We then explore different ways of managing tensions and consider strategies that have been used for breaking down binary divisions that may stymie informed and integrated decision-making. We conclude by adapting a five-point framework that incorporates uncertainty and environmental change when making decisions about landscape futures. [ABSTRACT FROM AUTHOR]

This paper explores the use of film as a method to explore themes of change and loss which emerged during the recording of archaeological features at Orford Ness, UK. Owned by the National Trust, Orford Ness is an exposed shingle spit off the Suffolk coast recognised for its natural and cultural heritage. The research discussed in this paper engaged with a community archaeology project which has been recording features on the shingle spit as they are altered and erased by erosion and other coastal processes. The authors experimented with film as a method to investigate the work being undertaken by practitioners and volunteers in this dynamic landscape. We conclude that, within interdisciplinary heritage research, experimenting with film as a method facilitates the representation of embodied practices and exposes processes of meaning-making. We frame our discussion about the active production of meaning through an analysis of the way that film engaged with qualities articulated in the National Trust's Spirit of Place statement for the site. [ABSTRACT FROM AUTHOR]

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This paper builds on work about rewilding and human–animal relations by focusing inquiry on Portugal's Côa Valley, where a concentration of prehistoric rock art animal figures shares a landscape with a rewilding pilot which seeks to re‐establish a population of wild horses. In response to recent geographical debates, the paper offers a sustained, situated analysis of the temporalities of rewilding and related claims to non‐human autonomy. In the Côa Valley, ancient images of animal others are enrolled in efforts to return "wild" horses to the landscape, but conceptions of wildness and domesticity, and autonomy and temporality, remain fluid and unfixed – even as they are implicated in the production of bounded spaces and invoked in present‐day management imperatives. To conclude, we argue for an appreciation of degrees of animal autonomy in rewilding contexts, moving beyond the binaries that often seem to be the focus of rewilding debates. Understanding of these degrees of autonomy, we argue, must be grounded in histories of landscape co‐habitation and co‐production, and consider the intersection of past cultural tradition and conceptions of desired future natures. [ABSTRACT FROM AUTHOR]

While Spiritualism has attracted much attention in other disciplines, geographers have largely ignored it. However, we agree with Holloway (2006 Enchanted spaces: the séance, affect, and geographies of religion Annals of the Association of American Geographers, 96, pp. 182–187) that Spiritualism presents conceptual challenges that make it worthy of more attention. As Holloway suggests, the themes of affect, embodiment and materiality are particularly helpful in exploring religious experiences. The focus of this paper is on the practice and experience of spirit mediumship in a Spiritualist setting. In mediumship, a specific challenge is to materialise and embody spirit such that spirit communication feels personal and rings true. For us, this suggests that mediumship is routinely successful both because it can produce accurate messages, which are judged empirically, and also because it produces what we call affectual truths, which are judged tacitly on whether they feel right or not. To account for this, we introduce the idea of intermediumship to describe interactions in the space in‐between the medium and the congregation. It is through this space in‐between that the affects associated with mediumship emerge, are experienced and are verified. Rather than seeing spirit communication as somehow enchanted or extraordinary, we assert that talking with the dead is predicated on the ordinariness of the experience: that is, that talking with the dead is emblematic of affect and embodiment in everyday life. [ABSTRACT FROM AUTHOR]

In this paper, we seek to map out the specific geographies through which spatialities of religion have been imagined. These involve such spatial metaphors as islands, networks and spheres. Less attention has been given to new forms of spirituality, and to the consequences of thinking through these for our understanding of modernity itself. We argue that modernity, religion and spirituality are entangled and spread through daily life. We conclude that adding new forms of spirituality to the mix of geographies of religion requires reconsidering more than the boundary between secularity and religion, but also rethinking the place of spirituality in modern life. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the idea of how vibrancy can be produced. Specifically, the attempt is to investigate the multiplicities of vibrancy by considering one of Mussolini’s bunkers. The author examines the location of the bunker in the EUR (Esposizione Universale Romana) neighbourhood in Rome, the bunker’s materiality, and the context and social meaning of the bunker through a contemporary art exhibition called ‘Confronti’ (Confrontations) that took place in the bunker in 2009. The article argues that while emphasizing matter’s inherent vibrancy may be useful in some cases, there is also merit in further unpacking the ways in which vibrancy is produced. In this example, the concrete bunker expresses vibrancy through the processes involved in the emergent material form, and in the sustained politics and social considerations embedded in valuing tangible urban heritage. [ABSTRACT FROM AUTHOR]

This paper explores the commonly used metaphor of the palimpsest prevalent in urban studies, and suggests that there are realities in the field that are overshadowed by the dominant use of the metaphor. Whilst the palimpsest is a useful metaphor to illustrate chronological superimposition or traces of the past that remain hidden, it is inadequate in describing sites that feature material, spatial and temporal juxtapositions. To remedy this gap, the paper introduces the concept of brecciation, inspired by Sigmund Freud, to provide an alternative means to consider how the accumulation of materials affects planning in the city. Examples from two specific sites in Rome illustrate how brecciation enhances an understanding of the sites and enables to evaluate the practices of urban heritage in recent urban initiatives. By way of conclusion, the paper highlights the benefits of engaging with a concept that reveals concatenations at a site, and suggests that further work on brecciation could be expanded to include the exploration of intangible entanglements. [ABSTRACT FROM AUTHOR]

In this paper I look at how the discovery of remnants contributes to creating new spaces in the city. I use the geological metaphor of brecciation drawing upon the work of Sigmund Freud to elaborate on how materials from the past and the present are jumbled in a nonlinear fashion to enable spatial multiplicity. I then illustrate these ideas through the case study of the Sala Trevi/Mondadori building in Rome which exemplifies the ongoing dynamics of the play of surfaces and depths when remnants are featured as part of the design. This is done by outlining ways in which the building unfolds spatial and material juxtapositions, and by elaborating on three elements that are indicative of the metaphor of brecciation. I conclude that when material and spatial entanglements occur, the metaphor of brecciation goes further than the metaphor of the palimpsest in facilitating spatial transformation in the city: spaces can be modified and create new possibilities with the past, enabling tensions to coexist in the present whilst not limiting reconfiguration in the future. [ABSTRACT FROM AUTHOR]

Copyright of Social & Cultural Geography is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)