This issue is the last of volume 2. With this, we have reached a milestone in our fledgling history and a threshold to the last volume in our series of three in which we have strived, and still strive, to get all the important elements of a good journal in place. According to our original plans our priorities were to establish top-quality submissions, a splendid pool of knowledgeable and rigorous but generous transdisciplinary referees, efficient refereeing procedures, satisfactory rejection rates, timely manuscript production, and a subscriber base that crosses disciplinary boundaries. Although quantitatively not yet up to standard, our readership is variegated and adventurous enough to appreciate our desire to “rethink mobility” and dedicate printed space to “mobility writ large.” Before we begin to produce volume 3 (2012) this September, our editorial team will retreat, evaluate, and look each other in the eyes to determine what we can do better.
Gijs Mom, Cotten Seiler, and Georgine Clarsen
Gijs Mom, Georgine Clarsen, and Cotten Seiler
At Eindhoven University of Technology, which has a modest reputation for collecting contemporary art, an exhibition of large machines and poetic video clips by father and son Van Bakel invites passersby to reflect on mobility. Gerrit van Bakel, who died more than a quarter century ago, became known for his Tarim Machine, a vehicle that moves at such a low speed that it almost does not matter whether it moves or not. The propulsion principle—for those who love technology—rests on the dilatation energy of oil in tubes propelling (if propelling is the right word …) the contraption a couple of centimeters over a hundred years or so, as long as there is change in temperature to trigger the dilatation. Emphasizing his father’s insights, Michiel van Bakel, exhibits a video clip of a horse and rider galloping over a square in Rotterdam, where the position and camera work are operated so that the horse seems to turn around its axis while the environment rotates at a different tempo. Mobility, these Dutch artists convey, is often not what it seems to be.
Peter Merriman, Georgine Clarsen, and Gijs Mom
Transfers and Transformations
Georgine Clarsen, Peter Merriman, and Mimi Sheller
With our eighth volume of this journal, the Transfers editorial team celebrates our achievements under our outgoing editor, Gijs Mom. This article outlines our priorities under our new editor, Dagmar Schäfer, and reaffirms our commitment to the burgeoning field of new mobility studies. The presentations by Mimi Sheller and Peter Merriman, fellow members of the editorial team, at our journal’s panel at the recent T2M conference, “Vistas of Future Mobility Studies: Transfers and Transformations” is summed up for the convenience of those who were not able to attend. This journal will continue to encourage and publish work that places mobilities at the center of our scholarship, with special emphasis on the humanities. Our commitment is to good, innovative, activist scholarship that can help us move toward alternative mobility futures.
Gijs Mom, Georgine Clarsen, Nanny Kim, and Dorit Müller
What is mobility worth? What is the value of a trip? These questions have many answers, which depend on who is doing the trip, and where, for what purpose, and using which vehicle, as well as what happened before.
Gijs Mom, Georgine Clarsen, Liz Millward, Dorit Müller, Mimi Sheller, and Heike Weber
The fluidity of modernity has surely reached the outskirts of the earth when even the new Pope Franciscus admonishes his cardinals that “our life is a journey and when we stop there is something wrong. […] If one does not walk, one gets stuck.” The current economic crisis has enhanced the fear of congestion and the interruption of flows: the circulation of capital in the first instance, but also of people and stuff, and of ideas and knowledge. It is time to rethink mobility.
Gijs Mom, Georgine Clarsen, Peter Merriman, Cotten Seiler, Mimi Sheller, and Heike Weber
In the middle of last year, a large survey in the Netherlands revealed that the average Dutch person dedicates seven hours per day to “media consumption.” That is the gross value, the surveyors assure us. The net value is 5.5, meaning that 1.5 hours are spent multitasking, such as watching TV and surfing on the net, or “tweeting” (on Twitter) during a football match. Remarkably, using the cell phone while driving would not qualify as multitasking as the car is not considered to be a medium. Users know better, as we will see in this issue, and mobility researchers are devising conceptual frameworks that are adequate to the complex and multiple relations between diverse media.
Gijs Mom, Georgine Clarsen, Nanny Kim, Cotten Seiler, Kurt Möser, Dorit Müller, charissa N. Terranova, and Rudi Volti
In 1873 Edouard Manet finished his famous and beautiful “Railroad” painting. In it a woman in a blue travel coat, sitting on the stone base of a gate, stares us in the face, looking up from her book and gazing through us as if digesting what she just read, a little dog sleeping on her lap. Next to her a girl (her daughter?) stands with her back toward us, a big blue bow on her white Sunday dress, gripping the gate bars and looking through them at … a cloud of steam. No train in sight. They are waiting, for what, for whom? Perhaps the girl’s attention is not drawn by what she sees but by what she hears: a steam valve must be hissing loudly.