Abstract
The concluding chapter considers the nexus between mobilities and possibility studies as potentially leading to a new paradigm within social science. This paradigm considers ‘possible mobilities’ (i.e. new forms of movement of people, things and ideas) and ‘mobile possibilities’ (i.e. the contribution of movement to all our engagements with the possible) as two sides of the same coin. Ongoing research in this direction is discussed, as well as future perspectives.
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Notes
- 1.
See Glăveanu (2020).
- 2.
- 3.
Piaget (1977).
- 4.
We might, first of all, not notice the differences opened up by the act of movement or changing position. Then, even if we are aware of them, we might not value or appreciate the new perspective(s). Finally, even when this is not the case, it doesn’t mean that differences will be acted upon in a creative manner (for a discussion of these ‘steps, see Glăveanu and Beghetto 2017).
- 5.
Glăveanu (2020).
- 6.
For a broader discussion of this see Zittoun and Gillespie (2015).
- 7.
See Zittoun (2020).
- 8.
See Czikszentmihalyi (1990).
- 9.
See Heidegger (1962).
- 10.
See Kupferberg (1998).
- 11.
Kupferberg (1998, p. 203).
- 12.
In Kupferberg’s words, ‘Migration, the role of the stranger, and travelling are acts involving human agency and encounters. These are in different ways attempts to escape the destiny of being supported but also restrained by institutions, cultures and home communities. The emphasis is not who we are but who we become by our encounters. Creativity abroad is a transforming experience, for different reasons; it is not a mere repetition of inherited models of thinking’ (Kupferberg 1998, p. 203).
- 13.
See Womersley (2020).
- 14.
Womersley (2020, p. 1).
- 15.
Jensen (2013, pp. 203–204).
- 16.
Cresswell (2006).
- 17.
See Tanggaard (2016).
- 18.
Bakewell (2010).
- 19.
Reijnders (2016).
- 20.
Nilsson et al. (2012).
- 21.
‘The notion of “negotiation in motion” [describe] the dynamic interaction that takes place when we perform mobilities in a busy transit space or when the “mobile with” is engaged on more or less explicit decision-making concerning routes or modes of transportation. (…) As I speak of staging from above, I want to propose the metaphor of “scenography”, as in the sense of creating “scenes” within a manuscript or a play. To capture the staging from below I propose, in a similar vein, the metaphor of “choreography”. Obviously, choreography may also be created from the vantage point of a disengaged director. But here the immediate embodied and sense-oriented dimension is what makes me prefer this metaphor for the bottom-up and embodied acts of self-choreography that individuals perform as they create “mobilities in situ”’ (Jensen 2013, pp. 4–7).
- 22.
De Maio et al. (2014).
- 23.
Whiting and Hannam (2014).
- 24.
Narula and Duysters (2004).
- 25.
Zittoun and de Saint-Laurent (2015).
- 26.
Leander et al. (2010).
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Glăveanu, V.P. (2020). A New Paradigm. In: Mobilities and Human Possibility. Palgrave Studies in Creativity and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-52082-3_7
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