Wesley Rykalski and I have had the abstract below accepted for the ATLAS 2011 conference in Valmeira, Latvia. The theme of the conference is ’Landscape and Tourism: a dualistic relationship”. Our plan for this paper is to take the methodology that we’ve been developing through the ‘Reading the Arcades / Reading the Promenades’ project over the last two years and apply it to other tourist spaces, in order to test its value as a new approach to engaging with the non-spaces (Auge 1995) of much touristic practice.
Wesley Rykalski and I will be presenting a paper based on our research for the arcades / promenades project at this conference. Once the paper is finished we’ll post more details up on our project blog, along with a programme for the event, once it is available.
You can read the abstract for our paper by clicking here. The final paper is quite a development from this point and incorporates some of the material that we have been posting on here over the last year.
Three short films were commissioned as part of the Sea Change initiative, which have been produced by the very creative people at Animate Projects. Each of the films presents a perspective on a seaside town that is currently going through the regeneration process. If you click on the picture below, you will be taken to the wonderful film about Teignmouth – a small town on the south coast of Devon in the UK – made by Kayla Parker.
I’ve written about Teignmouth before on the Arcades / Promenades project blog, for those of you with an interest in finding out more about this quirky seaside town. On the Animate Projects website you can also watch films about Bridlington and Hastings – enjoy!
Wesley has posted up the latest contribution to our ‘Reading the Arcades, reading the Promenades’ blog, where we are attempting to bring together our readings of Walter Benjamins’ ‘Arcades Project‘ and apply these to the British seaside promenade.
A taster of Wesley’s piece:
“Benjamin is, very, clear and, far too, concise in his summation of the method of The Arcades Project. Convolute N, which deals with his historical method and his analysis of that method (moving into the philosophy of method and history), contains a very great deal of material but the following are his key methodological statements on the Project itself.
This work has to develop to the highest degree the art of citing without quotation marks. Its theory is intimately related to that of montage.
Method of this project: literary montage. I needn’t say anything. Merely show. I shall purloin no valuables, appropriate no ingenious formulations. But the rags, the refuse – these I will not inventory but allow, in the only way possible, to come into their own: by making use of them.