Becoming ‘enchanted’ in agro-food spaces: engaging relational frameworks and photo elicitation with farm tour experiences

Abstract

Ecofeminists maintain that seemingly diverse and naturalized socio-ecological issues are in fact rooted within a particular cultural framework that perpetuates inequality and severs relationships among human and more-than-human communities. This important yet perhaps abstract understanding can be made tangible via examination of the ‘conventional’ food system, in which human and more-than-human communities are simultaneously otherized, marginalized, and exploited, realities largely hidden in a global industrial food system that disconnects production from consumption and obscures embedded relationships. Yet as consumer awareness rises, more people wish to know and move closer to the sources of their food, fueling community-based agro-food alternatives. When endowed with an ethic of care, such alternatives can be transformative for individuals and communities across scales.

This article situates conventional and alternative agro-food systems within relational frameworks of ecofeminism and care ethics and uses participant-driven photo elicitation (PDPE) to engage with experiences of consumers participating in a community farm tour. Findings suggest that such ‘enchanting’ experiences can begin to (re)embed food ‘products’ within contexts of place, people, and process, contributing to a relational consciousness that is central to an ethic of care. Findings also illustrate that PDPE can serve as a valuable window into experiences of reconnection, particularly useful for feminist researchers interested in learning more about enchantment and the transformational potential it holds.     

Theatrical magic and the agenda to enchant the world

This paper addresses the agenda of enchantment as it relates to contemporary theatrical magic (those deliberately enigmatic activities that are performed, experienced and commercialized as a form of entertainment). Magic practice is regularly constructed along a particular teleology: ‘action → effect of impossibility → affect of astonishment’. The paper supplements this teleology in four sections. First, a discussion of magicians’ knowledge and the ignorance required for participant-spectators to apprehend effects of impossibility and become astonished. Second, an examination of two forms of reason: one, an investigation into hidden ‘secrets’; the other, a perception of superficial ‘effects’. Third, a critique of the figure of the magician and its disputed role within magic practice. Fourth, a presentation and discussion of three empirical vignettes – professional magician Jay Sankey’s ‘Unreal Experiments’ – which advocate an evental logic with an experimental ethos; thus, enacting a critique of the figure and teleological structure of practice, and posing a challenge to rethink and invitation to expand theatrical magic practice. In conclusion, the paper highlights some of the ways in which theatrical magic participates in the agenda to enchant the world that has so gripped social science.     

‘I am Tower of Hamlets’: enchanted encounters and the limit to art’s connectivity

‘I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are’ (2011–2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, ‘meaningful’ encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter.     

Where are the storytellers? A quest to (re)enchant geography through writing as method

The standardization of writing styles and formats and the use of jargon in the social sciences have had considerable consequences on the quality of academic work. Due to the emphasis on method, theory, and empirical rigor, creativity, personal narrative, and storytelling no longer play a large role in academic writing. Addressing the growing concern for researchers losing their sense of self, the suppression of emotional reflection, the inaccessibility of jargon-filled work to the public, and the overall deterioration of writing quality, this paper argues for a renewed focus on teaching writing as a foundational qualitative method in the social sciences. Using creative writing examples by students from a graduate course in landscape geography, I suggest strategies for teaching, practicing, and reflecting on writing as method. Addressing the significance of creative and reflective writing earlier on in higher education will help young academics foster their own narrative voices, and will ultimately contribute to more interesting, accessible, and affective research that (re)enchants geography and other fields in the social sciences.     

Structural,Visual, or Iconic: Transmutations of Wooden Brackets in Modern China

Together with pillars and roof, the bracket set is one of the most fundamental structural components of traditional timber-frame architecture in China. Not only structurally indispensable, it was also emblematic of specific building styles developed through history. Entering the modern era, however, its architectural validity was overturned by the use of modern technology and building materials, rendering brackets merely a visual and decorative motif. This paper contends that it was precisely when the bracket set lost its structural significance that it began to be discussed in ways that endowed it with layers of cultural meaning in the context of modern China. Examining its modern appropriations in materials other than wood throughout the twentieth century, the paper explores shifting meanings of brackets in their continuous transmutations from a reminder of a defunct component in the building tradition to a nostalgic sign for an irretrievable architectural past.     

Securitisation through re-enchantment: the strategic uses of myth and memory

ABSTRACT

This article is an investigation into the attempt by the federal Conservative government of Stephen Harper to securitise the Canadian polity through re-enchantment. Through the strategic use of discourses and the shaping of the regime of signification, the article explains how the Harper government attempted to re-enchant national myths of Anglo-conformist nationalism, militarism and loyalism. Using discourse analysis of government documents and speeches, the article examines three sites of discursive intervention: (1) National Museum and Archive policy, specifically, the renaming of the Canadian national museum; (2) the militarisation and royalisation of national institutions and commemorations, notably the renaming of the Canadian navy and (3) the privileging of anglo-centric and loyalist tropes in the performance of citizenship rituals, and associated with this, reforming Citizenship legislation. The article concludes with an analysis of the reasons for the overall failure of the Conservative government’s attempts to securitise through re-enchantment.     

Encountering enchantment: stories from the street football court in Singapore

While enchantment has been used productively to think through the geographies of social encounter, extant research – drawing largely from cases in the West – has reinforced a celebratory notion of enchantment, characterized by egalitarianism and serendipity. In this paper we draw ethnographically on encounters between Malay and Chinese users of two street football courts in Singapore, a non-Western context where principles of public interaction converge with but also exceed those in the West. In so doing we aim to advance existing debates by conceptualizing enchantment as it is negotiated and constituted, rather than asking if observed occurrences live up to dominant interpretations. We find that enchantment can be experienced through the construction, perpetuation and negotiation of boundaries; it is also a product of enduring rhythms in space that are produced and developed via the interactions of its users over time. In specifying the different ways in which enchantment is created, negotiated and lived we contribute to signalling the validity of expansive notions of publicness i.e. the different ways in which encounter in public space can be made meaningful and fulfilling.