SHU Space & Place Group: ‘Changing Places #3: Sport & physical activity in catastrophic environments’, online event, 3-11-22

The Sheffield Hallam University Space & Place Group is delighted to announce that for the next event in our ‘Changing Places’ series we are hosting an online book launch for an exciting and timely new collection edited by Jim Cherrington and Jack Black, entitled Sport and Physical Activity in Catastrophic Environments as part of Routledge’s ‘Research in Sport, Culture and Society’ series. Featuring contributions from around the world, this collection looks at the ways in which sport and physical activity react to natural and man-made shocks to place, whether by armed conflict, natural disaster or socio-economic turmoil. Our online book launch event will feature presentations from the editors and three of the contributors:

Jim Cherrington and Jack Black (Sheffield Hallam University)

Introduction. Sport and Physical Activity in Catastrophic Environments: Tuning to the ‘weird’ and the ‘eerie’

Dani Abulhawa (Leeds University)

Moving toward understanding through open and expressive physical activity: Findings from a preliminary study into the work of Skateboarding charity, SkatePal in the West Bank, Occupied Palestinian Territories

Kevin Bingham (Barnsley College)

An urban explorer’s experiences of meshwork, melding and the uncanny: invisible cities of the rubble

Kass Gibson (Plymouth Marjons University)

Informational Hazards and Moral Harm: Sport and Exercise Science Laboratories as Sites of Moral Catastrophes

Places are free, but must be booked via Eventbrite (see below for the link). Registered delegates will be emailed the event’s Zoom link 24 hours prior to the start of the event.

This edited collection addresses a clear gap in the literature, as to date, there is a paucity of scholarly research that directly examines the role of sport and physical activity in the experiences of individuals and communities who have lived through catastrophe (Thorpe, 2015). This is surprising, since the ability of individuals and communities to maintain healthy relationships with their surroundings– most notably, before, during and after catastrophe – is an important point of focus, posing a number of significant questions for sport and physical activity researchers (Rowe, 2020). Namely: What happens when our existing geographical, topographical, sociological and political coordinates are shattered because of war or poverty? How can sport and exercise help us to cope when faced with unprecedented levels of planetary change? Can, and if so how, does life go on in the wastelands left over from resource extraction, industrialisation and economic decay? And what are the consequences of global pandemics for the (physical and mental) health of those whose everyday activities, hobbies, interests and forms of labour are dependent on stable notions of identity, embodiment and place? Here, sport and physical activity may seem trivial to many. However, research on the recent Covid-19 pandemic has shown how involvement in physical cultures provides an important locus of support in times of hardship and pain, as well as an important mechanism for managing the embodied, cognitive, and structural ruptures that accompany unprecedented events.

In attempting to address this lacuna, this session will present a series of case studies from an edited collection entitled: ‘Sport and Physical Activity in Catastrophic Environments’, which will be published by Routledge on November 8th 2022. Key to this approach will be an investigation of both the negative (i.e. death, mental and physical health issues, human displacement) and positive (new social and political identities, increase in environmental awareness, personal growth) outcomes of a range of socio-cultural and political changes, specifically related to the ‘end’ of capitalism, socialisation, ‘nature’ and morality. By allowing for interdisciplinary contributions that are located at the juncture of sociology, geography, social psychology, political ecology, philosophy, and the arts, an analysis of how participants in sport and physical activity respond to the complexities of the environment will be provided. In so doing, the sessions will explore the cognitive and affective sensibilities used by both individuals and communities to experiment with new social, cultural and political identities as well as how these processes are adapted in times of chaos. In this way, we hope that the session will make a meaningful contribution to empirical analyses of sport, physical activity, and the environment, while also examining how such analyses might help in developing practical resilience strategies for those most affected by catastrophic change.

Copies of this book can be purchased directly from the Routledge website: https://www.routledge.com/Sport-and-Physical-Activity-in-Catastrophic-Environments/Cherrington-Black/p/book/9781032125411

Attendance is free – but you’ll need to book via the Eventbrite page:

Register on Eventbrite

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Here and hear: reflections on SHU SPG’s Haunts#4: atmospheres of social haunting online event, 17 June 2021

“The psychologist of visual perception speaks of ‘figure’ and ‘ground’, the figure being that which is looked at while the ground exists only to give the figure its outline and mass. But the figure cannot exist without its ground; subtract it and the figure becomes shapeless, nonexistent. Even though the keynote sounds [of a soundscape] may not always be heard consciously, the fact that they are ubiquitous there suggests the possibility of a deep and pervasive influence on our behaviour and moods. The keynote sounds of a given place are important because they help outline the character of men living among them”.

R. Murray Schafer (1977) The Soundscape: Our Sonic Environment and the Tuning of the World, Destiny Books: Rochester, Vermont. p.9.

Yesterday we held our final event in our ‘Haunts’ series, Haunts#4 was focused on “atmospheres of social haunting“. Introducing the session I tabled a definition of Social Haunting thus:

“The ways in which aspects of the past are somehow mobilised – whether as ‘heritage’, ‘community’, ‘nostalgia’ or ‘trauma’ – so as to impose a strong affective (or atmospheric) charge upon a site of present action.”

But I left ‘atmosphere’ undefined, thinking that that would remain a background, unexplored element. But as it turned out (for me at least) it was the mechanisms of atmospheric engineering – and in particular sound (and silence) as key techniques for that – that seemed to resonate across (and connect together) the five papers. Looking back on it there was a trajectory – from silence through to loudness which I’m now going to try and account for.

Other linkings and cross-readings are possible, and the event recording is presented below.

The quote from Schafer above, reflects the importance of the un- or under-acknowledged role of sound and silence in composing a sense of place, and of how ever if seemingly present only as ‘background’, this environmental quality is vital to the formation of the sense of place, and of the grounding of human living (and dwelling).

The focus on sound and its contribution to the affective weight and endurance of memorial rituals (like the annual Cenotaph ‘Remembrance Day’ and its summoning of a sense of previous generations’ loss in the name of a passed-on ‘remembering’) was introduced by John Land’s presentation. John dissected the elements of the ritual and material arrangement that embedded the sense that each iteration of the Remembrance Day was acknowledging and connecting to a past. As John pointed out, sound is used to orchestrate that intentional social haunting, for example the lone bugle playing the ‘Last Post’, or orchestrated cannon fire. But it is also used in order to frame silence: a feature of these rituals that is perhaps even more potent: in silence the world is marked as stopped in its tracks. Symbolically, a portal opens up, a space of reflection in to which the social ghosts are invited to fill our thoughts.

John suggested that sound connects us to sense of a past precisely because it is ephemeral and incomplete. It leaves room for the mind to wander and (seem to) make its own novel connections (though – of course – working within received cultural schema).

This ‘summoning power’ of sound and silence followed on through into Max Munday’s performative reflections on his use of activity and movement to connect with the traumatic experiences of his Jewish ancestors. In a moving clip (not included in the recording below for copyright reasons) Max inhabited a space, spinning and contorting his body in relation to empty chairs around him as the recording of a mournful lament sung by an elderly Cantor grew louder and louder.

Esther Johnson’s short film A Role to Play summoned the intertwined features that compose the atmospheric essence of Bolsover, a small hillside town in Derbyshire, with a dual claim to fame: an Industrial-era association with coal mining and a long pre-industrial association with aristocracy though its castle. Yet, the town is now post-industrial, a fate sealed by the death of coal and the rise and rise of the logistic sector. Esther gave voice to a selection of residents, giving them space to speak of the highs and lows of their dwelling there. Woven alongside these voices, and the visual depiction of Bolsover’s heterogeneous landscape elements, were ‘local’ sounds buried in the background but giving that sense – as Schafer suggests above – that this ambient soundscape is key because it is constitutive: the sound is binding the the place together. In addition to ambient sounds in the mix, Esther subtly features a brass band’s recording of John Dowland’s 1600 lute song Flow My Tears, which rendered in modern transcription laments:

Flow, my tears, fall from your springs!
Exiled for ever, let me mourn;
Where night’s black bird her sad infamy sings,
There let me live forlorn.

Down vain lights, shine you no more!
No nights are dark enough for those
That in despair their last fortunes deplore.
Light doth but shame disclose.

Never may my woes be relieved,
Since pity is fled;
And tears and sighs and groans my weary days, my weary days
Of all joys have deprived.

From the highest spire of contentment
My fortune is thrown;
And fear and grief and pain for my deserts, for my deserts
Are my hopes, since hope is gone.

Hark! you shadows that in darkness dwell,
Learn to contemn light
Happy, happy they that in hell
Feel not the world’s despite.

But this elegiac reference is truly backgrounded – because the band is performing the instrumental version. And Esther’s foregrounding of her interviewee’s voices is more more positive: yes speaking to adversity, but also to community, individual and collective agency and mutual aid. Whilst not included in the above recording, a copy of Esther’s film can be viewed separately below:

My own presentation – which considered the erection in the early 1830s of a stone memorial to commemorate a mass burial site for Sheffield’s Cholera victims – spoke of the power of voice in terms of the powerful co-option of poetry and civic engagement by James Montgomery to aspire to embed a lasting sense of lament upon the hillside site at which the burial ground had been hastily created. I then – perhaps moving away from a focus on sound – showed how difficult it is to sustain an atmosphere of loss at a particular site. I charted the rise, fall and recreation of the monument, and questioned whether much of the affective intensity originally intended by Montgomery to be seared into the landscape remained: in short whether his vision expressed in the final stanza of his poem The Cholera Mount (1832) had been met for long:

With statelier honours still, in time’s slow round,

Shall this sepulchral eminence be crown’d,

Where generations long to come shall hail

The growth of centuries waving in the gale,

A forest landmark on the mountain’s head,

Standing betwixt the living and the dead;

Nor while your language lasts, shall traveller cease

To say, at sight of your Memorial, “Peace!”

Your voice of silence answering from the sod,

“Whoe’er thou art, prepare to meet thy God!”

Meanwhile, Charlene Cross sought to give voice to a stranger – a Mrs Violet Murphy – piecing together fragments of a life story for a lady who now existed only through the assortment of momentos and official documents found secreted in a box, in a cupboard, in the basement of Charlene’s childhood home. The dogged application of family history techniques – and the affectionate intensity of Charlene’s searching to try to establish who Violet was, and why her archival remains were lodged in her Blackpool home – was all the more poignant for how those documentary fragments took us around the world, but never managed to reveal a connection to the home (or the town) in which her documents were found. Presented as though a detective story, the reveal – that the question of connection could not be answered – provocatively disrupted and denied assumptions that (even with the Internet) all of the past, and the people and places that may be partially recallable from it, can be neatly fitted back together.

But, as with Max’s summoning of his ancestors life-defining moments, and as with Esther’s giving voice to her interviewees, so Charlene’s act of generous, inquisitive care offered to a stranger in summoning Violet’s life by narrating to us what she had found out brings new pertinence to a popular quoted fragment of Schafer’s key 1977 text: that “hearing is a way of touching at a distance,” (p.11). Although (of course) – and to echo a closing theme of my own talk – this assumes that Violet Murphy actually wanted to be remembered and also raises the question of whether the urge to remember a stranger, just as the urge to renovate a derelict proto-Victorian monument, is an act of care-for-the-past or more a sign of our own contemporary magpie (selective appropriation) tendencies. As the Ghost Lab folk would put it (as ably summarised by Max), remembering the past and its social ghosts can have positive effects in the present and aid action towards future-making, but (as Esther’s film also suggests) to overly dwell on (for example) the loss of past collective identity (e.g. valiant coal mining labouring) could blind us to the (actual or latent) agency of the living.

Image Credit: Road workers and pedestrians fall silent and bare their heads in a mark of respect during the “Great Silence”; the two minutes silence held at 11.00am on the 11th November, 1919, a year on from the end of The Great War at TH2epuq.png (1002×711) (imgur.com)

The ghosts we summon from the battlefield: reflections and event recording for SHU SPG’s Haunts #3 event

“To the uninitiated, the landscape is flat and unremarkable, punctured only by the bulk of the Lion’s Mound amid miles of grassland and the occasional thicket of trees or a charming barn conversion. To others it is the final stop on an eerie pilgrimage of devastation and loss.”

Rebecca L. Hearne (2020) ‘The Weight of the Past’

Rebecca was due to be one of our presenters at yesterday’s online Sheffield Hallam University Space & Place Group event, ‘Haunts #3: The Haunted Battlefield’. Sadly, she wasn’t able to be with us, but I read extracts from her paper at the start of our event, and these set us up nicely for our collective ruminations around how battlegrounds have haunted qualities.

Rebecca’s paper gave a vivid account of her experience of conducting an archaeological dig at the Waterloo battleground, in the vicinity of the Lion’s Mound, a monumental landform commissioned by King William I of the Netherlands to commemorate the dead of the 1815 battle there. I read the following passage, which reminded us of the materiality and mortality not just of battlegrounds per se, but of this mound as a particular place, and of this mound as a testimony to the disruption of particular lives:

“The Lion’s Mound is powerful, its impact on visitors visceral. Standing atop the monumental pedestal, it is difficult to visualise the thousands of tons of soil collected to form the mound beneath one’s feet. This soil, drawn from the battlefields, contains bone fragments, lost teeth with historical fillings, clay pipe bowls blackened from anxious chain-smoking, and tatters of cloth punctured by bayonet blades, sometimes decayed and sometimes stained with young men’s blood. Musket balls, unfired but flattened on one side, preserve the moment when a young man jammed his ramrod too hard down the barrel of his gun while loading it in panic, causing it to misfire, injuring or — most likely — killing him. Shreds of family photographs, letters, memorandum books, tokens and talismans imbued with meaning and significance and intended to ensure a safe passage home were instead swallowed by thousands of tonnes of blood-soaked soil. As one project participant mused, standing atop the monument on that searing July day, ‘You just feel that… that weight. All the weight of the past is here.’”

Rebecca’s fellow excavators were 21^st century military veterans with PTSD, who found the act of digging and being at anothers’ battleground a powerful and helpful way of working through their own trauma.

Thinking back on the five presented papers that then followed, it has struck me that all of them – each in different ways – were concerned with the summoned nature of ghosts at battlefields. The presentations (which are all available to watch in the session recording below) each showed how, just as ‘place’ is ‘space’ infused with meaning projected onto it, so each battleground’s sense of haunting is at least in part (created or sustained) by present generations’ orientations towards these sites.

Thus, in the event’s keynote presentation, conflict archaeologist and post-conflict heritage specialist Gilly Carr from the University of Cambridge looked at how in the Channel Islands the material remains of the Atlantic Wall defences (Nazi bunker complexes) have been appropriated by successive generations of post-war islanders, sometimes playfully, sometimes as ‘heritage’, sometimes as emblems of islander spirit. And within that, the islanders openly share stories of encounters with the ghosts of these places. Gilly contrasted this with the awkwardness that arises within most academic circles when talk turns to ghosts. Gilly was keen to portray this local attachment to these bunkers and their ghosts as a potent mix of tangible and intangible heritage. Just as there has been growing attentiveness to the need to identify and preserve cultural practices and ideas in indigenous cultures, so can the logics of this be brought closer to home. The significance of these bunkers is – at least in part – because of the importance attached to them by the visiting, re-appropriation and story-telling projected upon them as part of the islanders’ local culture. Perhaps, by extension, these ghosts (or at least the practices enacted by the living in relation to them) should be protected as intangible heritage.

Later in the session, David Cotterrell (SHU – fine art), showed how his experiences as a war artist in Afghanistan in the early 2000s had been driven by a self-confrontation, when – as a pacifist – he was offered the chance to document a warzone. He felt the need to challenge himself, and to see this other (or alter-) reality for himself. His experiences showed him the complexities of ‘seeing’ war, that in 21^st century warfare the view is often distant, totalising (as epitomised in the remote view of the drone pilot). This influenced David’s 2012 installation work, The Monsters of Id, which works across three different visual domains and degrees of proximity to other people (whether enemies, bystanders or otherwise others). The following video shows the three installation pieces comprising that work. As David explains in his contribution to Haunts #3, the presence of inhabitants in the artworks is directly influenced by the presence of spectators. Thus, no one looking results in no-one appearing in the artwork. The flip-side of this is that if spectators lingered in the gallery they would be visited by curious others – people visiting them from within the artwork. This uncanny device activated two important complexities. First, the notion that we summon that which we fear – we call it forth – and perhaps it only exists because we summon it. Secondly, the notion of various degrees of distance of spectatorship, and in particular the detachment that military views of desert-like landscapes engender, with targets as anonymous – ghost like – others glimpsed only vaguely or in aggregate.

Another presenter, Andrew Robinson (SHU – photography) looked at the history of battlefield photography as pioneered at Gettysburg during the American Civil War. With a near-forensic close attention to detail, Andrew showed how iconic photographs showing the aftermath of that battle were somewhat composed, through rearrangement of the placing of corpses. Andrew showed how a style of war photography had been forged there – by commercial photographers who were taking pictures for sale to the general public, and seemingly meeting a ‘need’ (prurient or otherwise) for the viewer to feel that they had (virtually) been there / seen the reality of conflict. Andrew then showed how as the battlefield morphed in successive generations into a totem of heritage and national identity, the site itself having become a visually choreographed object.

David Clarke (SHU – Journalism) presented an equally thorough investigation of the origins of the ‘Angels of Mons’ legend, showing how what came to be a widespread belief in spectral intercession in an early First World War battle had been triggered by fiction that then slid into assumed fact, embedding itself in enduring folk memory. The assumption of fact was a product of its time and context: a heady mix of patriotism, pre-existing national myths and spiritualism. Such myths take hold where there is a widespread desire for such things to be true. Once again, we summon the ghosts.

Rob Hindle (Sheffield based poet), shared this concern with the power of myth, and blended in his concern with the alter-reality of war and also his family history or ancestors caught up in the carnage of the Western Front. Rob read from his published collection The Grail Roads (Longbarrow Press, 2018), an evocative mix of his poetry and extracts from his interpretative essay “Iron Harvest: An archaeology of sources”. The following quote – describing Rob’s search with his father for the location at which his great-grandfather fell in 1917 – neatly returns us to the theme of ‘summoning’ (Rob is searching for a ghost) and adds a sense of the chilling ambivalence of place:

“His body wasn’t found. The buzzing pylon and surrounding scrub don’t feel like markers: we’ve just run out of track. We stand freezing for a few seconds, my dad and me; then go back to the car.

The villages are ancient and they aren’t; Aerial photographs from 1981 show nothing but dark weals; yet here are hedgerows, huge trees, honey-stoned cottages and walls. Graves cluster along the lanes, the same stone cut into trim slabs and lined up, almost touching. Everything is small and close: 100 graves in a garden plot; six villages in a ten-minute drive. A dozen fields run down to the Ancre. I look at the maps from 1914, 1916, 1971. The villages disappeared but the red lines were more or less the same. The men came up that road, year after year, and were killed. When it was finished people came back, rebuilt their houses, planted trees, ploughed the land again.” (p.137)

Image Source: Belgique_Butte_du_Lion_dit_de_Waterloo_cropped.jpg (2646×1577) (wikimedia.org)

Awkwardly exploring fear, fascination and ambivalence in the ruin of Hitler’s Bunker

“Fixating on the historical locale feels naïve, even juvenile; the prime epistemological illusion of ‘heritage’, after all, is to substitute place for process, thus to manufacture ersatz ‘experience’.”

Patrick Finney (2007) ‘Finding the Führer Bunker’ Rethinking History: The Journal of Theory & Practice, 11(2) 287-291

As Finney notes in his short essay (which is an apology for him having momentarily drifted off into thinking about Hitler’s bunker when he meant to be doing other, proper academic work), showing an interest the specifics of iconic Nazi places may not be a good career move. Instead it may lead to you being bracketed with a motley collection of conspiracy theorists and fanatics. Writing about Cold War bunkers is just about passable now as an academic endeavour, but turning the spotlight onto a previous era’s concrete caverns is more risky.

So it’s been with some awkwardness that I’ve worked up a study of the post 1945 afterlife of the subterranean site of Hitler’s last days, and the resulting article has now been published in the Polish Geography journal Geographia Polonica as part of their special issue on ruination, demolition and urban  regeneration. The article is free to download here: http://www.geographiapolonica.pl/article/item/11707.html

The aim of this short blog is to add visuals to the story, and the argument, that my article sets out in its text by displaying my slides for a presentation of my paper at the ‘Thrill of the Dark:  Heritages of Fear, Fascination and Fantasy’ conference being held at the University of Birmingham at the end of the month (details here: https://thethrillofthedark.com/).

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Here’s my abstract for the conference presentation:

“Within days of Adolf Hitler’s suicide in his subterranean command bunker deep beneath the Reich Chancellery, the Führerbunker came to be framed as an object of dark fascination and illicit access. First Red Army looters, then Allied investigators, and a few months later Winston Churchill all came to pick over the remains of this place. Then in 1947 Hugh Trevor Roper, propelled this cold, dank underground bunker into a symbol of thwarted meglomania, the stage for a Götterdämmerung, in his account of his search for Hitler’s missing corpse. Through such framing the site has sustained a lure for Anglo-American war veterans and tourists ever since. Yet to Germans (East and West) this site was a place of political contamination, the tomb of a potential contagion that had to be kept contained (by successive demolition action and cycles of banalisation and profanation). Almost forgotten, the site was ‘rediscovered’ in the early 1990s scrubland of the Berlin Wall’s death strip, and amidst the subsequent redevelopment of that now prime real estate a questioning of the site’s meaning, and of its potentialities, started to emerge: oscillating between calls for the primal darkness of this subterranean lair to be constructively co-opted into holocaust memorialisation and (more recently) in an increasing co-option of the site as part of heritage tours. Cultural representations of this place have become increasingly decontextualised and denatured, transformed by the generational passing of time into a more free-floating, titillating glimpse of a darkness that once was. Through this case study this paper will interpret this semantic decay, showing that ascribed darkness, fear and moral-coding for a site are not eternal givens but rather that they ebb and flow over time, and that studies of attachment to dark places need to be able to account for this, by becoming more processual.”

My Geographia Polonica article uses this chronological account of the slow-death of the Führerbunker as a way of thinking through what ruination really entails – considering the interweaving of material and semantic decay, and intentional and incidental attrition in that place’s slow, faltering fade. As shown above, my presentation also follows this trajectory, and its concern to identify the stages of that faltering fade, but it additionally touches on this bunker’s iconic on-going reverberation, showing how material obliteration of such an undesirable, dark place does not ensure its elimination from culture. Accordingly, towards the end of the presentation I chart how this place increasingly becomes a disembodied signifier – a metonym for evil and failing ‘last days’ governance. In doing this I’m connecting back to the first paper I ever wrote about bunkers:  Bennett, L. (2011) ‘The Bunker: Metaphor, Materiality and Management’, Culture and Organization, 17(2) 155-173. [free copy here].

So, by the end of the presentation I’m thinking about ruination in a non-material way and with a concern for how a (dark) symbol fades: what are its processes of semantic ruination and stubborn persistence?  In the final flurry of images I present the last days of the Führerbunker as now a free-floating meme that is not dependent for its survival upon the clarity of the spatio-material co-ordinates or physical condition of its site of origination. And this roving meme (this virtualised Führerbunker) has increasingly looser, multivalent rules of use (testimony to its normative ruination). It is now freely appropriated for a wide variety of irreverent re-purposing. These appropriations retain the essential ‘last days of governance’ abject motif, but appropriate it for new satirical projects of varying degrees of importance or seriousness. In doing so these appropriations reinforce the generality of the ‘bunker mentality’ metaphor, but also weaken the specificity of a real Hitler having inhabited a real Berlin bunker during a real total war that lead to millions of real deaths. And there’s nothing better to encapsulate this than the Downfall parodies:

 

 

References: for these please see my Geographia Polonica article.

Picture credit: https://www.express.co.uk/travel/articles/633088/hitler-grave-resting-spot-berlin-germany

 

Here’s a chance to work as a post doc with me and others on our study of the St Peter’s, Kilmahew modern ruin project

Back in December 2015 I announced here that I was part of an AHRC bid for a large project to study the re-activation of the modernist ruins of former seminary, St Peter’s, Kilmahew, details here . That bid got through to the final round but ultimately wasn’t granted. So, we picked  ourselves up and dusted our ideas off and I’m please to report that we have now secured a smaller grant from The Carnegie Trust for the Universities of Scotland that will enable a more modest study of the project to now go ahead.

The key element enabled by this funding is a 14 months post-doc post (based at the University of Glasgow) to provide the embedded eyes and ears of our study. Here’s the summary of the post that’s been circulating via other channels this week…

“Research Assistant

‘Re-Placing Risk and Ruination: Experimental Approaches to Access, Design and Engagement in Transitional Heritage Sites’

RA Grade 7, Part-Time (0.8 FTE) for 14 months

Full details and job specification (post reference: 018433) available at:

https://udcf.gla.ac.uk/it/iframe/jobs/

This position is part of a research project funded by the Carnegie Trust for the Universities of Scotland, entitled:

‘Re-Placing Risk and Ruination: Experimental Approaches to Access, Design and Engagement in Transitional Heritage Sites’.

The post-holder will enable the research project to address three research questions:

– How do you activate a modern ruin safely?

– How do you activate a modern ruin creatively?

– How do you activate a modern ruin collaboratively?

Responses and findings will be drawn from an interdisciplinary study that investigates the on-going transformation of a Scottish site of international architectural significance and its surrounding historic landscape, Kilmahew-St. Peters (Argyll & Bute). Studying the novel and experimental approach to heritage site presentation and management being taken by artists, architects and designers at Kilmahew-St. Peters, will be the means to produce novel research findings with widespread relevance and applicability. Nationally and internationally, there are a multitude of valued heritage landscapes, in a ruinous, vulnerable, degraded state, requiring equivalent levels of creative intervention for the purposes of rehabilitation and to safeguard cultural legacies for the future. See: http://nva.org.uk/artwork/kilmahew-st-peters/ The post-holder will gather original data through a combination of critical literature review, stakeholder interviewing, and immersive, participatory fieldwork activity in the site under investigation.

Data gathering undertaken by the Research Assistant will be managed and supported by the Principal Investigators: Professor Hayden Lorimer (University of Glasgow), Professor Ed Hollis (University of Edinburgh) and collaborators Dr Luke Bennett (Sheffield Hallam University) and Angus Farquhar (NVA).

The project team will produce high-quality academic outputs, complemented by a range of dissemination activities.

Applications are sought from candidates with an awarded PhD in one of the following subject areas: Cultural Geography, Landscape Architecture, Landscape Studies, Architecture and Design, Heritage Studies, Creative Arts.

Closing date for applications: Monday July 31st 2017.

Applicants should note that interviews for the post are due to be held at University of Glasgow on Monday 21st August 2017.

Projected start date for post: 1st October 2017.

The appointed researcher will be based at University of Glasgow, in the School of Geographical and Earth Sciences, and will be a member of the Human Geography Research Group:

http://www.gla.ac.uk/schools/ges/

http://www.gla.ac.uk/schools/ges/researchandimpact/humangeographyresearch/“

 

Image credit: https://www.flickr.com/photos/ianrobertson63/8959128176/lightbox/

Micro-Habitats: Bunkers, Sheds & Space Capsules

“Just as fish die if they stay too long out of water, so the monks who loiter outside their cells or pass their time with men of the world lose the intensity of inner peace. So like a fish going towards the sea, we must hurry to reach our cell, for fear that if we delay outside we will lose our interior watchfulness.” St Anthony the Great, c. 300AD

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Here are my slides for my presentation at today’s Occursus/University of Sheffield symposium on ‘Micro-Habitats’. As my title will already have revealed, I used the opportunity to talk again about bunkers. This time my focus was on bunkers as micro-worlds. Through a clip from Lost I highlight the two faces of ‘the bunker’ in popular culture – the space-age bachelor pad and the abject, dank crisis space of last resort. I also took the ‘bunker as womb’, ‘bunker as shed’ and ‘bunker as man-machine’ riffs for a walk again. So far, so good (or at least, so far so familiar), then I ventured – via the Unabomber’s shed – into Outer Space aided by key scenes from the 1971 motion picture Silent Running, and in doing so invoked Paul Virilio’s conceptualisation of the spaceship as the bunker transposed into orbit. I then focussed in on the space-bunker’s hermetic nature – both in its sense of sealed off from the outside world, and as an essence of monastic retreat. I concluded with images of Lowell (Silent Running’s eco-hero) as lone bio-pod space shepherd to the remaining fragments of Earth’s vegetation, of Saint Anthony withdrawn from the world into the Egyptian desert and dwelling within its abandoned Roman forts, praying for his and the world’s salvation and of Desmond (Lost’s bunker dweller) now revealed as less the carefree bachelor enjoying his well equipped pad, more like a modern day Sisyphus typing code numbers regularly into his keyboard – as he believes he must – to prevent the detonation of some unspeakable device to which he is in thrall. So – bunker as hermitage…

 Oh, and the ‘men and bunkers’ riff was challenged by the audience – and a great discussion had around whether women and men equally attach to machines, objects, intimate spaces. Yes, they probably do. But we all agreed that conditioning plays a role too. Kitchen vs Shed does seem to have a gendering, and both can be domestic.

Finally, the slides don’t have citations – but these can be found in the two papers that this talk drew from:

• Bennett, L. (2013). Who goes there? Accounting for gender in the urge to explore abandoned military bunkers. Gender, Place and Culture. 20 (3), 630-646 

• Bennett, L. (2011). The Bunker: metaphor, materiality & management. Culture and Organization, 17 (2), 155-173.

Pictures: two views of The Temptation of St Anthony

1) Heironymus Bosch,  (detail), c.1500: http://www.ibiblio.org/wm/paint/auth/bosch/tempt-ant/

2) Anon, Star Wars mash-up of Salvador Dali’s 1946 painting: http://mentalfloss.com/article/52970/11-great-salvador-dali-art-mash-ups

 

This post is New Uses for Old Roman Forts #38

On Three Outcrops: Granite – trial and ordeal

“A rock, an event, a past, cannot write itself…and yet it does” (Schlunke, 2005)

I now close this outcrop trilogy with a multi-site rumination on the imperviousness of granite.

Haytor

Granite always involved a journey inland, and a negotiation too. Growing up in a household without a car it was always a convoluted trek to Dartmoor to commune with its stout grey sentinels. It would entail finding a spare seat on the extended family’s convoy into those hills. But the relative difficultly of reaching these rocks added to their lure. To be there, amongst them was to be somewhere made meaningful through its relative unattainability; special through a (modest) trial and ordeal. Whilst barely 30 miles from my town, these bulbous grey mica flecked outcrops felt regional, rather than local. I hold cherished memories of actual visits, but the yearning to visit was always stronger than the specific memories of actually being there. In melancholic moments the image of being up amongst these windswept peaks was a strong one. A wished for recuperative:  something to blow the cobwebs away, to recharge the batteries, to fill a hole.

Granite sits and broods, squat and strong, its forms asking to be clambered upon, pored, investigated. But it doesn’t give much away. It leaves you to speculate. Unlike the perishing, unstable and ubiquitous rocks of Torquay, granite has a resolute firmness and mystery. And there is something sinister in granite’s sly Easter Island faces: a silent leeching of radon from its radioactive pores, that gas seeping into basements, slowly poisoning unventilated air and bringing 1,200 lung cancer related deaths each year in the granite zones across the UK (Laurance 2010). A slow, silent-but-deadly, rock fart.

Bluff Rock

“Bluff Rock sits. Bluff Rock towers. It is the silent main character in this crime cum ghost story – it is always there, it always remains.”

Kristina Schlunke’s Bluff Rock (2005) is an account of her attempt to investigate an 1844 massacre of aborigines atop a local granite outcrop close to her Australian outback childhood home.  Schlunke ‘s research ranges across contemporary accounts, wider cultural context and the material conditions of the event-space. The rock itself is offered up as a mute witness to whatever happened there. For Schlunke preoccupations of the present inevitably seek to project onto any attempt to interpret the past. She sees the urge to order and make sense via selection and narrative as something to be – if not resisted – then at least laid bare. In that sense her investigation becomes resolutely autobiographical and deconstructive. The outcrop itself is presented as resistant to this ordering, resistant to the writing (or revealing) of the ‘truth’ of the event. In the swirl of interpretations, Schlunke clambers to the top of Bluff Rock and finds there no plateau, no clearly defined edge from which the cornered aborigines could have been ‘thrown’ (as in the testimony of the perpetrators). Schlunke is not seeking to deny the atrocities of colonialists and their actions against those already inhabiting the supposed Terra Nullis, but she finds threads that cannot be neatly assimilated into any of the circulating accounts. She concludes that the massacre probably did take place – once amongst many in this locality – but probably not at this landmark, that scenery having been added later, as though the event required geological ‘sexing-up’, bringing in a dramatic staging point, a crescendo for the endemic casual violence of such frontier encounters.

Bluff Rock passes no clue other than its own topography and density of thicket. It is impervious to rapid travel and interrogation alike. A material synonymous with memorials and headstones gives up little testimony of this past. Instead meaning comes from that projected onto this outcrop by its passersby:

“To drive past Bluff Rock is to see nothing but rock. To stop at the viewing place is to acquire a name and some history. To go to the Visitors’ Centre and ask for a leaflet is to be given a story of omnipotent white power.”

Cave Rock

Schlunke notes the instability of the very naming of Bluff Rock (and of the colonial urge-to-name as part of territorial conquest). An early – rain soaked – explorer came upon the outcrop in a wet July  and declared it ‘St Swithin’s Bluff’. That name didn’t stick, but – as for Schlunke – “This combination of rain and rock and the figure of a man’s body open to the elements and the effect of other men, creates a very nuanced image of that first ‘owner’”.

Likewise Matthew & Michael Makley find something similar in Cave Rock (2010), their account of the disputed use of a Nevada lakeside granite mass, the remnant of a volcano that erupted there three million years ago. To the local native American Washoe tribes this outcrop is “De’ek wadapush” (Rock Standing Grey), to the white explorers who then sought to style a name for this landmark, it was variously “Rocky Point” then “Indian Rock” and then “Cave Rock”.

The Washoe detoured to avoid this place. It was a potent place, to be visited only by shamen and at which secret rituals of re-powering would be performed, sometimes for good, sometimes for ill. But then in 1859 the white man’s gold rush saw a plank bridge-road skirt the edge of the mass. Then in 1931 engineers blasted a road tunnel straight through it (with a second tunnel added in 1957). The Washoe were not consulted.

Granite comes in many shapes and textures, but is often notable for its sheerness. As Schlunke puts it: “only straight, downward fissures and the simple immensity of granite”. Cave Rock was of a formation not well suited to traditional crack system based climbing, but the pioneering of bolt enabled sport climbing in the 1980s opened up the possibility of sheer rock faces to climbing. You don’t need cracks, seams and crevasses if you have runs of metal bolts fixed into a face.

In 1987 the first sport climbing route was pioneered at Cave Rock. Sports climbers bolted this vertical landscape and – in their view – improved the place by tidying up the litter and tunnel debris they found there, and paving the cave base. Ultimately 325 anchors marking the 47 distinct high-challenge routes written onto the face of Cave Rock by the scrutiny of the pioneering climbers who attentively read this vertical place and its route-potential, portraying this engagement with the rock in ecstatic, semi-spiritual terms, for example route pioneer Dan Osman:

“When I finished ‘Psycho Monkey’, I looked to the right and saw the line of ‘Phantom Lord’, which was harder [5.13b]. When I finished that, I looked to the right again and saw…the line of ‘Slayer’…I yelled to my belayer to lower me, and ran over to start working on it.” (quoted in Makley & Makley, 2010).

The climbers’ interest in Cave Rock coincided with emergence of a (slightly) greater attentiveness to Native American affairs in US Federal policy, sparking long debate amidst Cave Rock’s custodians, the US Forestry Service, about how the seemingly incompatible uses could be reconciled. The Washoe wanted all non Washoe use of Cave Rock to be banned. In retort the climbers developed a triple pronged argument, first that US constitutional law prohibited the Forestry Service from acting in a way that promoted the interests of a religion. Secondly, that the spiritual integrity of Cave Rock had already been erased by the road tunnels and thirdly, that Cave Rock now held a rich spiritual meaning for climbers too (hinting at an equivalence to that of the Washoe).  Meanwhile – to add to the messy reality and multiple meaning making in play at this site – Cave Rock had been designated as a Federal heritage site due to its historic transportation significance: the road tunnels!

Sadly, the dispute remained one largely polarised between the climbers and the Washoe, the vision of a march upon Cave Rock by an enraged mob of access defending road tunnel enthusiasts never materialised. Ultimately, after some extensive to-ing and fro-ing the Federal Appeal court decided that it was lawful for the US Forestry Service to ban climbing at Cave Rock without falling foul of the US constitution. The rock’s heritage value for the Washoe (and the general population of the area) could be acknowledged , and climbing upon this publically owned land could be prohibited as of deleterious character to the integrity of the rock itself.

Subsequently, the climbers bolts were removed, their holes plugged and the climbers flooring works taken away too. But Cave Rock remains publicly owned land, it has not been repatriated to the Washoe, and traffic still streams through the tunnels.

What the granite thinks of all this is not known.

 

 

References

Laurance, J. (2010) ‘Radon Gas: the silent killer in the countryside’, The Independent, 10 August.

Makley, M.S. & Makley, M.J. (2010) Cave Rock – climbers, courts and a Washoe Indian sacred place, University of Nevada Press: Reno.

Schlunke, K.M. (2005) Bluff Rock – autobiography of a massacre, Curtin University Books: Fremantle.

Image Sources

Haytor, Dartmoor – http://travel.aol.co.uk/2013/07/12/mother-son-die-falling-100ft-dartmoor-devon/

Bluff Rock, New South Wales – http://www.onthehouse.com.au/reports/property_profile/12445298/7417_New_England_Highway_BLUFF_ROCK_NSW_2372/

Cave Rock, Nevada – http://blog.skiheavenly.com/2012/08/01/hiking-to-the-top-of-cave-rock/

Bunkers, anoraks and the erotics of knowledge

Here are my slides for the paper I’m giving at @conservingc20 ‘s conference on cultures of architectural enthusiasm at University College, London next week.

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There’s another bunkerology slideshow here:

https://lukebennett13.wordpress.com/2012/05/24/new-uses-for-old-bunkers-8-affective-landscapes-sebald-orford-ness-and-the-patriotism-of-pillboxes/

That one dwells more on representation and genre.

[This is New Uses For Old Bunkers #33]

New uses for old bunkers #22: doing ‘ruin porn’ in Churchill’s other bunker?

“I propose to lead a troglodyte existence with several ‘trogs’” – Winston Churchill, 21^st September 1940

Yes, there was something wrong with my camera that day, my pictures aren’t very good. This blog-essay juxtaposes my ‘bad’ photos of an open-day at the ruined hulk of Churchill’s ‘other’ London bunker – codenamed  ‘Paddock’ – in Spring 2010 with a rumination on the practice of modern ruin gazing, and ‘ruin porn’.

Paddock

‘Paddock’ was built 40 feet beneath a suburban GPO research station at Brook Rd, Dollis Hill, North London in the early stages of the war as a reserve bunker, a fallback in case the Government should be ousted from the Cabinet War Rooms beneath Whitehall. Whilst that central London complex is now presented as a restored walk-through ‘attraction’ and bunker-themed subterranean Churchill museum, Paddock has received no restorationist’s attention. Instead, it presents as a buried decaying hulk, its two layers having the ambiance of a cross between a rusting submarine and a buried Travelodge that the World somehow lost, and left to the decay in a fug of penetrating water, oxidation and fungal growth. This bunker, in short, is a modern ruin.

Paddock was decommissioned from military use in 1943 and ceased its subsequent GPO occupation in the 1970s. From that time it fell into decay. In the 1980s BT (as successors to the GPO) closed the research station, and in the 1990s the site was acquired by Stadium Housing Association and plans drawn up for a social housing development on this ‘brownfield’ site. At an advanced stage of the planning process the existence of this once ultra top secret bunker came to light and the local planning authority decided to impose a planning condition upon the developer. In return for permission to build 36 houses upon the surface, twice-yearly ‘open-days’ would have to be held, to give any who wanted to, a chance to venture inside.

Going underground

When I went along in Spring 2010, I found a gaggle of people milling on the pavement beside the nondescript entrance to the bunker. As the safety instructions sent to me by the Housing Association had mentioned with evident relief, this tour would be conducted by the experts – the bunker enthusiasts, Subterranea Britannica (Sub Brit).

Holmes (2009), in his book about Churchill’s main bunker, quotes from the diary of one of Churchill’s Assistant Private Secretary, Jock Colville who described Paddock in its prime, in September 1940 as:

“deep underground rooms safe from the biggest bomb, where the Cabinet and its satellites (e.g. me) would work and, if necessary sleep. They are impressive but rather forebidding: I suppose if the present intensive bombing continues we must get used to being troglodytes (‘trogs’ as the PM puts it). I begin to understand what the early Christians must have felt about living in the Catacombs.” (64)

Descending the cellar-like steps, the feeling was very much of entering some dank catacombs. This place is uncurated – there has been no preservation, let alone restoration there. There are no interpretation boards, there is no son et lumiere to bring this place ‘back to life’.

Instead (and I keep returning to this word because it really does capture the essence) here was a rusting and rotting hulk. In the two levels of long narrow corridors with office sized rooms either side, there was very little to identify this site’s prior exceptional purpose or even its subterranean location (apart from the absence of windows to these rooms). This was a rotting building, a long narrow rectangular office block, that just happened to be buried underground and to have had the good fortune to have been visited a few times by a wartime Prime Minister. Or, at least that’s how it struck me.

Seeing and doing

The crowd who had assembled for this trip underground was a surprisingly diverse bunch, a genuine North London cross section by race, age, gender and class. I suspect that many were there for the heritage angle – to glimpse another part of the Churchill trail, and perhaps others were curious local residents. It was strange to be in this derelict, decayed space in the company of an array of mainly smartly dressed middle aged people whom – I suspect – don’t normally clamber into the depths of dilapidated office-bunkers. Presumably they were here for the link to history and heritage, a link that was pretty hard to grasp hold of in this rotting void.

What attracted my attention most was the determined and disciplined photographic foraging of a black female teenager in the party. In each room she would seek out standard tropes of urban exploration photography and take multiple shots with her expensive looking camera. She clearly knew what she was looking for.

And what was she photographing?

Well, dust encrusted old bottles left on tables, fragments of notice board parchment, rusting signs: all the usual indicia of former use, abandonment and decay. And no doubt, from her thorough approach she would have come away with some ‘beauties’ in the oeuvre. In making this observation I’m not being ‘sniffy’. If my camera had been working properly that day I would have been attempting to perform the same stock compositions.

What struck me was that she (and I) had brought along a readymade way to ‘read’ this ruin – and we read it in a way that enabled us to pretty quickly forgot that we were in a specific place of heritage or events. Our engagement was more generic and focussed on the experiential materialities of this hulk – of the rust, the mould, the exposed metal: the place as ruin.

Smith (2004) recounting his own visit to this place with Subterranea Britannica, rendered this strange aesthetic – an unlikely conjunction of survey and poetics – thus:

“walls and floors ran wet…a beautiful snowy fur, the most exotic fungus I had seen below ground grew from the ceiling…gravy splashes of mould up the walls…droplets of water had been cultured into jewels by immobility” (333-334)

Our Sub Brit guides also seemed more captivated by the dank, broken-ness of this place that in portraying a clear and confident account of its wartime life. A line from Smith’s book had struck me when I first read it, and almost verbatim replayed itself via our own guide when we were taken into the generator room: his guide had inhaled contentedly there and declared with evident satisfaction “there’s still that engine-room smell”’ (2004:334), our guide showed a similar enthusiasm for this mechanical room and appended to every sentence of his description of these power devices the rider “as you probably know…”, co-opting us – willing or not – into a ceremony of subterranean machine-worship, recalling the obsessive enthusiast quoted in Geoghegan’s (2009) wonderfully titled article on industrial archaeology enthusiasts: “If you can walk down the street and recognise the difference between cast iron and wrought iron, the world is altogether a better place”.

Smith also relayed another evocative parallel recalled by one of his Sub Brit guides, about areas of water ingress into this bunker: “It’s like Star Wars where they’re trapped in a trash compactor” (333). It was, it really was. Trash compactor, space hulk, derelict bunker – they all merged as cultural reference points in this broken place.

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Ruin Porn

I’ve been thinking about Paul Mullins’ (2012) recent blog-essay on ruin porn and archaeology of modern ruins. The teenage photographer, the Sub Brit enthusiasts and I (with my damaged camera) were all – each in our own way – exhibiting and practising a contemporary ruin aesthetic in our engagement with this place. The decontextualised dimension is what renders the so-called ‘ruin porn’ aesthetic distinctive.

Garrett (2011) has sought to explore this free-ranging aesthetic sensibility in his notion of urban exploration as an ‘assaying’ of the past and its structures, it is a promiscuous, selective and ‘mix and match’ approach that is free of the channelling of meaning which curated heritage venues or an archaeological investigation would entail; that urban exploration harbours “no temporal or typological constraints to an appreciation of the past” (2011, page 1050).

Garrett takes to task High & Lewis (2007) for their attack on urban exploration, which they regard as shallow and lacking a deep engagement with the history and use-lives of the places that are briefly explored. He argues that places are more than memorials, more than an embodied outcome of use-lives waiting to be faithfully excavated by in-depth study. Instead he regards ruins as much about place as time, as places of more open-ended (and generic) material stimulation of the senses and experience.

I follow Garrett’s view up to a point. I agree that urban exploration can be performed via a ‘cross-reading’ of place (a notion captured in Edensor’s (2005) important work on the aesthetics of industrial ruins), but I depart from Garrett in terms of how ‘free-form’ the urban exploration aesthetic or practice actually is. I have sought to show elsewhere that actually it is deeply structured, that it is fairly easy to spot and replicate the ‘rules’ of its ways of doing in terms of what, where and how (Bennett 2011).

High & Lewis write off urban explorers’ narratives as (only) “a valuable window into how some white, middle class North Americans in their teens and twenties view[…] deindustrialisation…” (2007: 63). Whilst they make an important contribution in characterising urban explorers as tourists, in whose gaze places are romanticized and decontextualised. What they write off as “little more than impressionistic collage of observations and feelings. [Where] we learn more about how these abandoned buildings make the narrators feel, than about their history and function” (2007: 55), I view as products of a sophisticated and relatively stable genre, a mode of representation that is being performed by (in the case of this visit), me, the Sub Brit enthusiasts and the teenage photographer. This genre sets frameworks for approaching ruins, a way of measuring good and bad attempts at the genre and denies a truly free-form engagement with them (at least to the extent that any attempt to document and share the visit is concerned).

So, is this ‘ruin porn’? I guess it depends what you mean by ‘porn’, implicitly there is a negative judgment wrapped up in the term, but helpfully Mullins draws out some of the nuances, and potential positives.

In his essay Mullins seems to align the notion of pornography with a self-centred, gratificatory and asocial consumption of place. He points to critics of the ruin porn practitioners at work in the ruins of Detroit as celebrating the aesthetics of ruin in the way that previous generations of white, middle-class, male ‘hipsters’ might have extolled – from the safe distance of their life-comforts – the ‘soul’ of slums, or the authenticity of the ghetto. The fear that Mullins echoes (but does not necessarily share) is that ruin porn arrests social processes (like urban regeneration) that would otherwise address socio-economic and other inequities: that in ruin porn’s fetish of decay and remnant signs of the past, progress is somehow opposed or delayed.

Mullins then goes on to suggest that ruin porn may be a positive counter weight to modernism’s fixation on grand schemes of ever-change and perfection seeking; that an attention to decay and traces may open our eyes to a wider range of stimuli and ways of seeing our worlds.

I’m with Mullins on that. Yes, there is a danger that celebrating decay could avert attention from pressing issues, but there is also a danger that a relentless and unquestioning quest for modernisation, change and cleanliness rushes too boldly towards erasure.

There is a positive role that ruin porn can play. Just as it is said that children need to be exposed to a little dirt and germs to develop immunity, perhaps adults need to see a bit of a dank bunker now and then to remind them that the built environment has a wider range of textures, smells and forms than everyday experience might normally reveal.

If ruin porn helps to augment our sensory range then that is good – provided we remain vigilant against the rise of narrowing representational conventions within ruin porn itself and the proliferation of derivative and hackneyed depictions that lose their ability to offer augmentation of experience of the built environment.

However, there is also a need to remain attuned to the role (past, present and future) of these structures as places of social life, of questions of power, habitability and quality of life.

Bennett, L. (2011) “Bunkerology – a case study in the theory and practice of urban exploration”, Environment & Planning D: Society and Space, 29 421-34

Edensor, T. (2005) Industrial Ruins: space, aesthetics and materiality, Berg: Oxford.

Garrett, B.L. (2011) “Assaying history: creating temporal junctions through urban exploration”, Environment & Planning D: Society and Space, 29 1048-1067

Geoghegan, H. (2009) “ ‘If you can walk down the street and recognise the difference between cast iron and wrought iron, the world is altogether a better place’: being enthusiastic about industrial archaeology”, M/C Journal: a journal of media and culture, 12 2 unpaginated.

High, S. & Lewis, D.W. (2007) Corporate Wasteland – the landscape and memory of deindustrialisation, IRL Press: London.

Holmes, H. (2009)Churchill’s Bunker, Profile Books / Imperial War Museum: London

Mullins, P. (2012) “The Politics and Archaeology of ‘Ruin Porn’” at http://paulmullins.wordpress.com/2012/08/19/the-politics-and-archaeology-of-ruin-porn/

Smith, S (2004) Underground London – travels beneath the city streets, Abacus: London

http://www.subbrit.org.uk/

 

New uses for old bunkers #16: a post about a book about a film about a journey to a bunker

This NUFOB# series is ploughing a psychological furrow at the moment – looking at the reverberation of bunkers and bunker imagery in a variety of manifestations. It won’t last forever, a more detached perspective will reappear soon, but here I’m staying in that moody place, and will be looking at the resonance of abandoned bunkers as places of mythic pilgrimage.

To do so I’m going to focus upon Andrei Tarkovsky’s 1979 file, Stalker and Geoff Dyer’s recent book Zona (2012) which I’ve just finished reading. Dyer’s book is a dreamy reflection upon how Tarkovsky’s film has weaved through his life and thoughts since he first saw it in the early 1980s. I will be doing likewise, linking Stalker, the roots of my bunker-awareness and interest in melancholic male wandering.

Dyer’s book is subtitled ‘A book about a film about a journey to a room’. And that neatly sums up what he has achieved. Except, that the room that the questers finally reach at the heart of the post apocalyptic ‘Zone’ is actually a bunker (one of the questers refers to it – in translation at least – as ‘Bunker 4’). Whether this large room is a bunker for containing the unspecified abnormality within, or protecting it from the normality that lies outside is never made clear. But the journey of the raggerdy middle aged questers is to this place. Everything builds up to the arrival there, and it is where the questers hope that everything will make sense.

 

 

I have only seen Stalker all the way through – in a single sitting – on one occasion. That was in the early 1980s, on TV. I was 12 and staying at my dad’s house. I remember thinking that this film was very strange. Much of it is in black and white and consists of three threadbare men shuffling their way towards ‘The Zone’. There are occasional tension points. But much of it is chilling for the absence of clarity about what is happening. Think Alien crossed with Waiting for Godot crossed with the melancholy spirit of a terminally slowed down Joy Division. In the rain.

One image stuck in my mind. The three characters clambering through a derelict factory in sodden clothing, looking small, frail, lost, abject against the backdrop of gnarled girders, corroding silos and pools of indeterminant industrial dross.

It was their dejected questing that struck me most – the travel – rather than the arrival. I think that frame, plus a few others, were the early seed for my interest in urban exploration and wandering. Other formative punctum were images of derelict Liverpool (it seemed always to be Liverpool) in circulation in gritty early 1980s TV dramas like Boys for the Blackstuff. Emasculated ex-labourers now picking over the carcass of former worksites (for a more light hearted version of this trope see the canal scene at the start of The Full Monty: an early instance of metal theft on film).

Then closer to home, there were my drawings aged five of complex interconnecting bunker-like complexes. A page wide array of tunnels, turrets and technicality. In those days ‘cuttaways’ were a common feature of print media, they seem less prevalent now. But then there seemed to be drawings and plans everywhere interpreting how things looked inside.

And there was a recurrent early childhood dream of a complex mechanical enfolding – an ambulant crush-monster that seemed to have some connection to a zebra crossing. Later-on a feverish dream one night of corroded tank cockpits the day before I was due to visit Salisbury Plain firing range with my dad. That visit didn’t happen, or if it did it didn’t leave much impression. But that dream-image lingered.

And then, me aged about six listening to my dad’s amateur dramatics group practising lines from a play he’d written for them. It was a play about the end of the world. The reason for that ending was unspecified, but the line that stuck in my young mind was “we ate Mrs Jones’ crackling yesterday”.

An innocuous line on one level – but only if you take Mrs Jones to have been the cook, rather than the cooked…