Landscapes of Stone: Contextualizing Greenstone Working and Lithics from Clodgy Moor,West Penwith,Cornwall

Between 2004 and 2011 Graham Hill and Dave Edwards plotted nearly eight thousand prehistoric artefacts from ploughed fields across the Clodgy Moor area of West Penwith. In 2011 a project was carried out by the Historic Environment Service Projects team, Cornwall Council, the Portable Antiquities Scheme and the Cornwall Archaeological Society to catalogue and digitize all the finds recorded from the fieldwalking.

The project demonstrated that some places within the project area were persistent locales which were occupied throughout the Mesolithic and Neolithic periods. The results were particularly significant because they shed light on the context of the production of greenstone axes, widely exchanged around Britain and across the Irish Sea during the Neolithic, and suggest why, despite large numbers of artefacts, no greenstone ‘axe factory’ site has been found close to the potential sources of the greenstone before.     

The cultural geographies of Abstract Expressionism: painters,critics, dealers and the production of an Atlantic art

In this article I propose that the artistic genre of Abstract Expressionism which emerge d from New York in the late 1940s provides an illustrative example of the way a productive, trans-national geographical framework can be provided by exploring the cultural geographies of the Atlantic world. By drawing on the ways Abstract Expressionism was constructed and promoted within the rigid national perspective of 1950s' US cultural policy and reacted against in Britain and Europe on similarly nationalistic terms, I show how the circulatory exchange of cultural flows reveals a more co-produced understanding of these histories. The notion of a network of painters, dealers and critics is used to emphasize the way Abstract Expressionism was produced through a spatial framework which plays a constitutive, rather than purely connective, role. In doing so I draw particular attention to the period from the early 1950s to the 1960s and the artistic activity and critical writing associated with New York City and the Cornish coastal town of St Ives.

Les géographies culturelles de l'Expressionnisme Abstrait: les peintres, les critiques, les marchands et la production d'un art de l'Atlantique

Je propose dans cet article que le style artistique de l'Expressionnisme Abstrait, né à New York à la fin des années 1940, fournit un exemple permettant d'illustrer la façon dont un cadre géographique productif et transnational peut être élaboré à partir d'une exploration des géographies culturelles de l'univers Atlantique. En prenant comme base les moyens par lesquels l'Expressionnisme Abstrait a été construit et s'est développé dans le cadre rigide et national de la politique culturelle américaine des années 1950 et s'est confronté à une Angleterre et une Europe tout autant nationalistes, je démontre comment l'échange circulaire des courants culturels permet de voir et de comprendre que ces histoires ont en partie été coproduites. La notion de réseau de peintres, de marchands et de critiques sert à souligner par quel moyen l'Expressionnisme Abstrait a été produit au travers d'un cadre spatial dont la fonction est constitutive plutôt que simplement de permettre de former des liens. Ce faisant, j'attire l'attention sur l'époque allant du début des années 1950 jusque dans les années 1960 et sur l'activité artistique et les écrits critiques qui sont liés de près à la Ville de New York et à Saint-Ives, village côtier de Cornouailles.

Las geografías culturales del Expresionismo Abstracto: pintores, críticos, marchantes y la producción de un arte atlántico

En este papel sugiero que el género artístico de Expresionismo Abstracto que surgió en Nueva York en los años 40 es un ejemplo ilustrativo de la manera en que se puede facilitar un productivo marco geográfico transnacional por una exploración de las geografías culturales del mundo atlántico. Las maneras en que se construía y promovía el Expresionismo Abstracto dentro de la perspectiva nacional rígida de la política cultural de los Estados Unidos de los años 50 y las maneras en que se reaccionaba contra ello en Gran Bretaña y Europa en términos igualmente nacionalistas sirven como ejemplo de cómo el intercambio circulatorio de flujos culturales revela una interpretación co-producida de estas historias. La idea de una red de pintores, marchantes y críticos sirve para destacar el modo en que el Expresionismo Abstracto fue producido por un marco espacial que juega un papel tanto constitutivo como conectivo. En particular destaco el período de los años 50 a los años 60 y también la actividad artística y la literatura crítica asociada con la ciudad de Nueva York y la ciudad córnica costera de St Ives.     

Book reviews

New works in geography

Empire Forestry and the Origins of Environmentalism. Gregory A. Barton. Pp. xiii + 192. Cambridge: Cambridge University Press, 2002. ISBN 0 521 81417 0 (hbk).

Claiming Rural Identities: Dynamics, Contexts, Policies. Tialda Haartsen, Peter Groote &; Paulus P.P. Huigen (eds). Pp. viii + 166. Assen: Van Gorcum, 2000. Price €17.02, ISBN 90 232 3567 3 (pbk).

Geographies of Health. Anthony C. Gatrell. Pp. xv + 294. Oxford: Blackwell. 2002. Price £16.99 (pbk), ISBN 0 631 21985 4 (pbk).

The Peopling of Britain: The Shaping of the Human Landscape. Paul Slack and Ryk Ward (eds). Oxford: Oxford University Press 2002. Price £50.00 (hbk), ISBN 0 19 829759 9 (hbk).

Focus on Scotland

William Speirs Bruce: Polar Explorer and Scottish Nationalist. Peter Speak. Pp. 144. Edinburgh: National Museums of Scotland Publishing, 2003. Price £9.99 (pbk), ISBN 1 901663 71 X (pbk).     

Ideology and the by‐passing of the planning system: Case studies of Canary Wharf,London, and the Globe,Stockholm

This article explores the relationship between political ideology and planning in Britain and Sweden, with a particular emphasis on the by‐passing of the planning system. The prevailing ideology in each country over the last 10 years is outlined and the impact on planning identified. The argument is then given greater depth through case studies of two major projects. For Britain, this involves setting out the main features of Thatcherism and the way this has changed the purposes underlying planning and created a diversified planning system. This is followed by a case study of Canary Wharf. For Sweden, the consensus culture and the emphasis on participation and decentralization are discussed. The new planning legislation of 1987 is outlined. These aspects are then contrasted with the fiscal crisis and the development of ‘negotiation planning’. These themes are illustrated in the case study of the Globe in Stockholm.     

Invisible men: mobility and political change on the frontier of late Roman Africa

The political hierarchies that developed in North Africa in the post‐Roman period have traditionally been ascribed either to invading groups from the Sahara, or to indigenous elites who transformed their political authority to respond to changing circumstances. The present article suggests that such interpretations have neglected the role played by seasonal pastoralists within the emergence of these new polities. Human mobility was a crucial feature of the late antique Maghreb, as analysis of the later Roman frontier system reveals. Equally, contemporary anthropological scholarship emphasizes the influence that mobile groups can have in periods of social and political upheaval and their capacity for hierarchical stratification. The article offers two brief case studies, and argues that Antalas, leader of the ‘Frexes’ in southern Byzacena, and the occupants of the ‘Djedar’ tumulus mausolea near Tiaret, are best viewed as products of a mobile society.     

CREATIVE CITIES: THE CULTURAL INDUSTRIES AND THE CREATIVE CLASS

The aim of this article is to critically examine the notion that the creative class may or may not play as a causal mechanism of urban regeneration. I begin with a review of Florida's argument focusing on the conceptual and theoretical underpinnings. The second section develops a critique of the relationship between the creative class and growth. This is followed by an attempt to clarify the relationship between the concepts of creativity, culture and the creative industries. Finally, I suggest that policy-makers may achieve more successful regeneration outcomes if they attend to the cultural industries as an object that links production and consumption, manufacturing and service. Such a notion is more useful in interpreting and understanding the significant role of cultural production in contemporary cities, and what relation it has to growth.