{"title":"书评:《身体、影响、政治:身体政权的冲突》","authors":"Samuel Berlin","doi":"10.1177/14744740221076522","DOIUrl":null,"url":null,"abstract":"pleasingly jarring exploratory experience. For example, a social history of Buckley Space Force Base coexists just a few clicks away from Jeff Gipe’s provocative 2015 memorial artwork, Cold War Horse. An image of the controversial Candelas housing development adjacent to Rocky Flats is a mere page away from a short essay by Katherine Schmidt on the Maybell Disposal Site. In this way, the Atlas condenses nuclear space and time. The featured essays are elegant and diverse in scope. They include authors such as Stephanie Malin, A. Laurie Palmer and Gretchen Heefner. Artistic highlights include Abbey Hepner’s ‘Uravan’, which is a collection of laser-cut engravings of the vanished uranium mill town of Uravan, superimposed onto the contemporary landscape. Allan Ginsberg’s wry 1978 ‘Plutonian Ode’ to Rocky Flats plutonium pit manufacturing plant and Claudia X. Valde’s poignant flag-based work, ‘For the Future, With Love’, are also featured. The cartography page within the Atlas offers a comprehensive, simple, and clickable A–Z of each nuclear site in Colorado. Upon selection, each location includes a brief referenced description and a link to a relevant keyword; for example, ‘Deployment, Training, Command and Control’ or ‘Refining’. However, the overarching site is deliberately multicursal, which creates a meandering but occasionally aimless user experience. While this format mirrors the anfractuous nature of nuclear issues, it may also create some navigational challenges for the casual reader. However, the inclusion of multiple pathways is creative, and does offer insights into the complexity and connectivity of nuclear places and mobilities. This project is representative of a larger inclusive turn in cultural geographies, more generally. While the Atlas is currently set across Colorado and its hinterland, I envisage that the globalised nature of the nuclear industrial establishment could offer an expansion upon this original work. Perhaps, in due course, we can hope for ‘A People’s Nuclear Atlas of the World’.","PeriodicalId":47718,"journal":{"name":"Cultural Geographies","volume":"29 1","pages":"330 - 331"},"PeriodicalIF":1.6000,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Book review: Bodies, Affects, Politics: The Clash of Bodily Regimes\",\"authors\":\"Samuel Berlin\",\"doi\":\"10.1177/14744740221076522\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"pleasingly jarring exploratory experience. For example, a social history of Buckley Space Force Base coexists just a few clicks away from Jeff Gipe’s provocative 2015 memorial artwork, Cold War Horse. 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引用次数: 1
摘要
令人愉悦的探索体验。例如,巴克利太空部队基地的社会历史与杰夫·吉佩(Jeff Gipe) 2015年具有挑衅性的纪念艺术品《冷战之马》(Cold War Horse)共存,只需点击几下鼠标。凯瑟琳·施密特(Katherine Schmidt)在梅贝尔垃圾处理场(Maybell Disposal Site)上发表的一篇短文中,仅隔了一页,就看到了与Rocky Flats相邻的有争议的坎德拉斯(Candelas)住宅开发项目的图片。通过这种方式,阿特拉斯凝聚了核空间和时间。精选的文章文笔优美,内容多样。其中包括Stephanie Malin, A. Laurie Palmer和Gretchen Heefner等作家。艺术亮点包括Abbey Hepner的“Uravan”,这是一个激光切割雕刻的集合,它是Uravan消失的铀工厂小镇,叠加在当代景观上。艾伦·金斯伯格1978年为Rocky Flats钚坑制造厂创作的讽刺作品《Plutonian Ode》和克劳迪娅·x·瓦尔德以旗帜为主题的作品《为了未来,有爱》也在展览中展出。地图集中的制图页面提供了科罗拉多州每个核站点的全面、简单和可点击的a - z。在选择后,每个位置包括一个简短的参考描述和一个链接到相关的关键字;例如,“部署、训练、指挥和控制”或“精炼”。然而,总体的网站是故意多通道的,这创造了一个蜿蜒但偶尔漫无目的的用户体验。虽然这种形式反映了核问题错综复杂的本质,但它也可能给普通读者带来一些导航上的挑战。然而,包含多种路径是创造性的,并且确实提供了对核心地点和流动性的复杂性和连通性的见解。这个项目代表了文化地理学更广泛的包容性转变。虽然《地图集》目前的背景是科罗拉多州及其腹地,但我设想核工业机构的全球化性质可以在原著的基础上进行扩展。也许,在适当的时候,我们可以期待“世界人民核地图集”。
Book review: Bodies, Affects, Politics: The Clash of Bodily Regimes
pleasingly jarring exploratory experience. For example, a social history of Buckley Space Force Base coexists just a few clicks away from Jeff Gipe’s provocative 2015 memorial artwork, Cold War Horse. An image of the controversial Candelas housing development adjacent to Rocky Flats is a mere page away from a short essay by Katherine Schmidt on the Maybell Disposal Site. In this way, the Atlas condenses nuclear space and time. The featured essays are elegant and diverse in scope. They include authors such as Stephanie Malin, A. Laurie Palmer and Gretchen Heefner. Artistic highlights include Abbey Hepner’s ‘Uravan’, which is a collection of laser-cut engravings of the vanished uranium mill town of Uravan, superimposed onto the contemporary landscape. Allan Ginsberg’s wry 1978 ‘Plutonian Ode’ to Rocky Flats plutonium pit manufacturing plant and Claudia X. Valde’s poignant flag-based work, ‘For the Future, With Love’, are also featured. The cartography page within the Atlas offers a comprehensive, simple, and clickable A–Z of each nuclear site in Colorado. Upon selection, each location includes a brief referenced description and a link to a relevant keyword; for example, ‘Deployment, Training, Command and Control’ or ‘Refining’. However, the overarching site is deliberately multicursal, which creates a meandering but occasionally aimless user experience. While this format mirrors the anfractuous nature of nuclear issues, it may also create some navigational challenges for the casual reader. However, the inclusion of multiple pathways is creative, and does offer insights into the complexity and connectivity of nuclear places and mobilities. This project is representative of a larger inclusive turn in cultural geographies, more generally. While the Atlas is currently set across Colorado and its hinterland, I envisage that the globalised nature of the nuclear industrial establishment could offer an expansion upon this original work. Perhaps, in due course, we can hope for ‘A People’s Nuclear Atlas of the World’.
期刊介绍:
Cultural Geographies has successfully built on Ecumene"s reputation for innovative, thoughtful and stylish contributions. This unique journal of cultural geographies will continue publishing scholarly research and provocative commentaries. The latest findings on the cultural appropriation and politics of: · Nature · Landscape · Environment · Place space The new look Cultural Geographies reflects the evolving nature of its subject matter. It is both a sub-disciplinary intervention and an interdisciplinary forum for the growing number of scholars or practitioners interested in the ways that people imagine, interpret, perform and transform their material and social environments.