or metaphoric representations of place and space; reconfigurations of place to address nonlinear perceptions of place and space; the play of scale, borders, and symbols; and the cartography of concepts (e.g. identity) rather than physical places (ibid 40). Collage proved particularly useful in a study of the varied textures of Panama City—a city which is “ensconced and revealed in multiple layers” (ibid 550; see figure 2). Here, collages served both as lively orientating devices in the final research output (guiding the reader through the research booklet), and to give “a physical ... as well as a subjective, lived space sense of place” to the mapping practices of research (ibid). It proved a particularly appropriate medium for evoking the confusion of the researcher as “an outsider observing the community” (ibid), and the confusion of the city spaces. Finally, collage was able to compel a different, more attentive way of looking, that switches between the general (the collage as a flattened ‘image’) and the particular (details of texture, flashes of the underlying map, and photographic details of the city) (ibid). images or other media over a surface, to give increased density and texture. Both collage and montage are ‘disruptive’ media, however whilst in montage “reality seems to stutter” (Doel and Clarke 2007:899), allowing us to insert critique in the ‘gaps’ (e.g. Dittmer 2010), collage “emphasizes the diversity and fragmentation of [experience]” (Rose et al. 2009:2103). 138 Powell (2010:539-40) comments on these conventions: “typically maps are thought of, and used, as a directional tool, a graphic means of representing places that are held to particular conventions of scale, scope, symbol, and legend”—in short they act as a geophysical, utilitarian “orientation device.” 139 This includes social mapping (e.g. Cairns et al. 1995; Serriere 2010), concept mapping (e.g. Novack and Gowan 1996; Prosser 2008), and cognitive mapping (Lynch 1960; Seyer-Ochi 2006). See Powell (2010:540) for more detail on each of these forms of mapping, and on the cross-disciplinary and academic-public collaborations of this new “visual genre” of mapping.

Geographic enchantments : the trickster and crone in contemporary fairy tales and storytelling

Artist Rima Staines offers three original drawings of the old woman in the woods based on the tales of "Baba Yaga," "Red Riding Hood," and "Hansel and Gretel." The artist's own introduction offers insights into the ideas and perspectives that she has drawn upon to shape and inform her visual representations of one of the fairy tale's most resonant characters.

Rima Staines

Papers

Drawing the Old Woman in the Woods