Inverse globalization and the spread of epidemics have affected the world economy. Promoting the convergence and resilience of the tourism industry is an important means of boosting regional economic recovery and high-quality development. Taking the nine cities in the Guangdong–Hong Kong–Macao Greater Bay Area (GBA) as cases, this study measures the state of development in each city from 2010 to 2019, and it constructs a coupled coordinated model to evaluate the integration of culture and tourism development. The entropy method and the coupling-coordination-degree model are evaluated through this empirical analysis. The results demonstrate that most cities in the GBA show an upward trend in the development and integration of the tourism industry. The development and integration of the tourism industry in Guangzhou and Shenzhen has always been in a leading position. The main factors that affect the level of tourism-industry convergence in the GBA cities include the level of economic development, the scale of government spending, the level of urbanization, and the level of technological innovation.

An exploration of industrial ruin sites has received sufficient attention in the past. Framed under the hybrid perspective of non-representational theory and paralleled with Ingold’s taskscape conceptualized terms, this study examines the TSA (train service area), an opencast mining ruins site in Gongguan town of Maoming, southern China, as a case locus to depict the ‘lives lived’ and the textures of the taskscape encountered by locales and to sketch out the iterative and eventful movements of human and non-human dynamic phenomena at the rural-urban interface from the 1960s to the 1980s, with the aim to re-examine the locality of one industrial city and regenerate the local culture. As actualized through ‘stories and dramatic episodes’, i.e., an art intervention of a new geographical historiography, the ‘thick’ landscape of mine transport comes to the stage as the self-landscape and of group-place scenes. In the first scene, the industrial past is evoked along the actor’s movement, through situated knowledge and through shared personhood; thus, the spirit of place is finally obtained through the aesthetic sublimation in the landscaping. In the second scene, the movement between the workplace and other rural areas, which are rural and seasonal, has balanced the gap between the urban and the rural, whilst the proximity of the village to the TSA accelerates the process of rural urbanization in this area. Among which, tea, as a non-human item, irreducibly produces a ‘structure of feeling’ and conjures up a sense of past people and past times and of customs, beliefs and localism.