Abstract

AbstractAreas in cities typically denoted as ‘Vacant and Derelict Land’ are frequently presented in policy documents as absent of meaning and awaiting development. However, visits to many of these sites offer evidence of abundant citizen activity occurring outside of planning policy. Dog walkers, DIY skatepark builders, pigeon fanciers and reminiscing former factory workers, for example, can all be found inscribing their own narratives, in palimpsest like fashion, upon these landscapes. This spatio-temporally bound and layered mix of contested meanings extend beyond representational capacity offered by traditional cartographic methods as employed in policy decision-making. Such a failure to represent these ecologies of citizen-led practices often results in their erasure at the point of formal redevelopment. In this chapter, we explore how one alternative approach may respond to these challenges of representation through a case study project in Glasgow, Scotland. Deep mapping is an ethnographically informed, arts research practice, drawing Cifford Geertz’s notion of ‘thick description’ into a visual-performative realm and seeking to extend beyond the thin map by creating multifaceted and open-ended descriptions of place. As such, deep maps are not only investigations into place but of equal concern are the processes by which representations of place are generated. Implicit in this are questions about the role of the researcher as initiator, gatherer, archivist or artist and the intertwining between the place and the self. As a methodological approach that embraces multiplicity and favours the ‘politicized, passionate, and partisan’ over the totalizing objectivity of traditional maps, deep mapping offers a potential to give voice to marginalized, micro-narratives existing in tension with one another and within dominant meta-narratives but also triggers new questions over inclusivity. This methodologically focused chapter explores the ways in which an ethnographically informed, arts research practice may offer alternative insight into spaces of non-aligned narratives. The results from this investigation will offer new framings of spaces within the urban landscape conventionally represented as vacant or empty and generate perspectives on how art research methods may provide valuable investigative tools for decision-makers working in such contexts. The deep mapping work is available to view at http://www.govandeepmap.com.

Highlights

  • The Arts Research Approach of Deep MappingThe term deep mapping is embraced by a broad variety of artists, creative practitioners and researchers that utilize arts- or performance-based approaches to stimulate conversations about and investigations into place (Biggs, 2010; Roberts, 2016)

  • This chapter is written from the first-person perspective of myself, the lead author

  • Through reflections on the empirical and methodological challenges of applying a deep mapping approach to this setting, in this chapter we explore the broader questions around how such a research process can actively seek out and amplify heterogeneous and marginalized narratives in a deindustrialized urban landscape

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Summary

The Arts Research Approach of Deep Mapping

The term deep mapping is embraced by a broad variety of artists, creative practitioners and researchers that utilize arts- or performance-based approaches to stimulate conversations about and investigations into place (Biggs, 2010; Roberts, 2016). This contesting of ‘what is represented and how’ (McLucas, n.d.) holds promise for vacant land in particular In such locations where strong confluences of meanings are wrapped up in either the period of use prior to closure or the speculative, forthcoming use, deep mapping processes may helpfully redirect focus away from the past or future place and instead create opportunity for the present place to be acknowledged and validated. It is an effort to create a representational space around this very different kind of territory that commonly falls out of the urban imagination (Shoard, 2000) Beyond such attitudes to investigation, the tools and practices used in the actual creation of deep maps are dependent upon the demands of the place and the skills and resources available to the map initiator. What follows is the development of and reflection upon a deep mapping method that is highly specific to our research interests in the site, and the artistic practice and even personal traits of the lead author who undertook this fieldwork

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