Abstract
The conclusive chapter considers the cross-media practices, transpositions and doublings back that characterise contemporary site-specific Scottish writing and art in their efforts to overcome the dualisms of nature and culture, object and experience, centre and margin, body and mind, local culture and global change.
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Notes
- 1.
On the affective turn, see Clough and Halley 2007.
- 2.
On the concept of preconceptual freedom, see Nancy 1988.
- 3.
See Naess’ Buddhist reading of Spinoza’s Ethics, in which the deep ecologist denies that Spinoza meant wisdom should be gained through meditative tranquillity alone, away from social and active life. ‘Equanimity integrates internal and external balance and shows itself in vigorous action. The mode of human nature exposed by Spinoza, as I understand him, is maximally expressed in the supremely active life–internally and externally, insofar as internal and external can be distinguished at all’ (Naess 2008, p. 254).
- 4.
‘To know a physical place you must become intimate with it. You must open yourself to its textures, its colors in varying day and light lights, its sonic dimension. You must in some way become vulnerable to it.’ Also by Lopez: ‘To hear wild animals is not to leave the realm of the human; it’s to expand this realm to include voices other than our own. It’s a technique for the accomplishment of wisdom. To attend to the language of animals means to give yourself over to a more complicated, less analytical awareness of a place’ (Lopez 2002, p. 232; p. 236).
- 5.
Oosterling further offers to consider intermedia as ‘embedded in intentional acts, mediated by signs and socially and historically determined’ (Oosterling 2003, p. 36). He continues: ‘nowadays the intermedial aesthetic experience par excellence is perhaps no longer exclusively found in the white cube (the museum) or the dark room (the theatre hall or cinema), but in the public sphere as a spacing of the “inter”, be it physical or virtual’ (p. 46).
- 6.
‘Despite the adoption of architectural terminology in the description of many new electronic spaces (websites, information environments, programming infrastructures, construction of home pages, virtual spaces, etc.), the spatial experience on the computer is structured more as a sequence of movements and passages than as the habitation or durational occupation of a particular “site.” Hypertext is a prime example. The (information) highway is a more apt analogy, for the spatial experience of the highway is one of transit between locations’ (Kwon 2002, p. 173).
- 7.
In the same vein, see the 2013–2014 project Writing the North: http://www.writingthenorth.com/writing-the-map/; http://stanzapoetry.org/blog/poetry-map. These websites both operate in the same way, with each visitor-contributor being invited to pin down their creative writing on a map of Scotland or, more specifically in the case of Writing the North, of the Northern Islands.
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Manfredi, C. (2019). Conclusion. In: Nature and Space in Contemporary Scottish Writing and Art. Geocriticism and Spatial Literary Studies. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-18760-6_10
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