English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article examines a novel approach to visual methods that artist Ben Davis has developed based on sociologist Kevin Walby’s research into decommissioned industrial sites, which is referred to here as tracing. Disrupting the over-reliance on photographic representation in visual methods in the social sciences, the authors integrate audio recordings of interviews, as well as photos, maps, and building plans for pop-up mining communities into visual art works to provide a counter-visual analysis of the landscapes depicted in Kevin Walby’s photographs of Uranium City. After reviewing literature on environmental degradation and on visual methods, the article elaborates on Ben Davis’s practice of tracing as a technique representing the feeling of decomposition and decay generated by the harms of industrial resource extraction. The authors argue that the technique of tracing excavates layered histories of place, providing a way of creating new interpretations of social and environmental issues. They then discuss how this counter-visual analysis and approach to tracing enables a trans-disciplinary and dialogical space for engagement with academics, artists, and activists to explore issues centered on land, contamination, and justice.

Tailings and tracings: using art and social science to explore the limits of visual methods at mining and industrial ruins