Deborah Dixon - Academia.edu (original) (raw)

Journal Articles and Papers by Deborah Dixon

This article offers a theory and methodology for understanding and interpreting collaborations th... more This article offers a theory and methodology for understanding and interpreting collaborations that involve visualization technologies. The collaboration discussed here is technically a geovisualizationan immersive, digital "fulldome" film of Hurricane Katrina developed by the Advanced Visualization Laboratory (AVL) at the University of Illinois at Urbana-Champaign, produced in collaboration with atmospheric scientists at the National Center for Atmospheric Research (NCAR) in Boulder, Colorado. The project, which brought together AVL's programmers, visualization experts, and artists with NCAR's scientists, required the integration of diverse disciplinary perspectives. In the language of such collaborations, the term renaissance team was coined to capture the collective expertise necessary to produce modern, high-end visualizations of large data sets. In this article, we deploy Simondon's concepts of technical objects and collective individuation to analyze the development of AVL's Katrina simulation. One extended sequence of team member collaboration suggests that technical objects also be treated as "collaborators," for they have the capacity to transform such collectives through the unique problems they present.

Papers by Deborah Dixon

Environment and Planning a Abstract, 2014

Johnson/The Wiley-Blackwell Companion to Cultural Geography, 2013

Encyclopedia of Human Geography, 2006

Gender, Place and Culturedepends on the assistance of those who give their time and effort as ref... more Gender, Place and Culturedepends on the assistance of those who give their time and effort as referees of manuscripts. The editors gratefully acknowledge those listed below, who contributed in this way in the past year. ... ISSN 0966-369X print/ISSN 1360-0524 online q 2010 Taylor &amp; Francis DOI: 10.1080/0966369X.2010.517032 http://www.informaworld.com ... Kristine Alexander Fiona Anderson Gavin Andrews Penelope Andrews Mariama Awumbila Kevin Ayotte Keiron Bailey Hazel Barrett Bipasha Baruah Gulsum Baydar Martha Bell Kathryn Besio Mona ...

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Page 1. I hear dead people: science, technology and a resonant universe Deborah P. Dixon Institut... more Page 1. I hear dead people: science, technology and a resonant universe Deborah P. Dixon Institute of Geography and Earth Sciences, University of Wales-Aberystwyth, Aberystwyth SY23 3DB, UK, dxd@aber.ac.uk In recent ...

Page 1. Corresponding author: Deborah P. Dixon, Institute of Geography and Earth Sciences, Aberys... more Page 1. Corresponding author: Deborah P. Dixon, Institute of Geography and Earth Sciences, Aberystwyth University, Ceredigion, Wales, SY23 3BD, UK Email: dxd@aber.ac.uk cultural geographies 18(4) 435455 © The Author(s) 2011 Reprints and permission: sagepub. ...

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Jameson's notion of the geopolitical aesthetic through an analysis of Jameson's now classic readi... more Jameson's notion of the geopolitical aesthetic through an analysis of Jameson's now classic reading of The Perfumed Nightmare; this film is central to his concept of the utopic character of film more generally and, moreover, to his argument on the embeddedness of Third World representations within a global, capitalist system. We suggest that, although Jameson acknowledges the underlying constructed and relational character of ontological categories such as film (despite their reification under capitalism), his theory of historical materialism demands that they also be understood as formed with regard to a socio-economic totality. And, because the recognition of a totality requires a master narrative within which all can be understood and framed within a logic of equivalence, Jameson must by default conceive of epistemology as fundamentally divided between a true and a false consciousness. Taking our own cue from recent developments in anti-essentialist thought, we conceive of such cultural forms as the temporarily fixed embodiment of broader-scale discourses that continually construct and deconstruct the world as we know it, including our understandings of the 'real' as well as the 'economic', the 'political' and the 'cultural'. In our own re-imagining of The Perfumed Nightmare, we provide a partial response to this, noting how these realms are constituted from the temporary 'fixing' of a series of people-and place-based identities, such as those constituted under the rubric The Perilous Place of Third Cinema 291 of 'gender'. Accordingly, we re-work the term 'cognitive mapping' as the attempt to outline the web of significations within which objects are embedded as well as the concomitant lines of fracture and contradiction that allow for such objects to become meaningful in a host of other contexts.

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Unfold is a touring exhibition that showcases the work of 25 artists who, alongside other creativ... more Unfold is a touring exhibition that showcases the work of 25 artists who, alongside other creative practitioners, scientists, and communicators, have participated in expeditions organised by Cape Farewell to landscapes considered to be particularly 'fragile'in the face ...