Two Walks with Objects - MDPI

humanities Article

Two Walks with Objects Phil Smith School of Humanities & Performing Arts, The House, Plymouth University, Drakes Circus, Plymouth PL4 8AA, UK; [email protected] Received: 21 June 2017; Accepted: 20 July 2017; Published: 22 July 2017

Abstract: ‘Two Walks With Objects’ attempts a tainted auto-ethnographic review of the affects and actions arising from reviewing the images remaining from two walks with objects, the first in 2013 and the second in 2017. The article sets out, within the context of a growing discussion about the agency of unhuman and nonhuman things and a refinement of neo-vitalist and object-based ontology, to narrate affect within an archive against the effects of memory, triangulating these not with a third human source, but with the absence of the things themselves, which are present only as written descriptions and photographic representations. By framing the walks as everyday performances, the article seeks then to use a critique of documentation of performance as transforming performance into something else as an efficacious model, identifying the ‘voids’ of mythogeographical practice as that “something else”, as potential spaces where human actors can learn to live with the agency of nonhuman objects. Keywords: objects; vitalism; walking art; mythogeography; object-oriented ontology

1. Introduction What follows is a work of delayed and tainted auto-ethnography, applied during and in reflection after two walks, one in 2013 alone and the second in 2017 with my daughter (then, 19), with the ‘instruction’ to walk without a destination, and to be guided by whatever objects I/we were drawn to and, where possible, to carry the objects with me/us until drawn to a new one. On the walks I used my (cheap) digital camera as a visual notebook; written reflection only began when I started to write this paper, five months after completing the second walk. This tainted auto-ethnography is proposed as part of an ongoing mythogeographical practice which has been developed over the last two decades. During that time, this practice emerged from collective site-specific performances, was developed through wandering in search of sites-with-performance-like-qualities (Smith 2010) and an engagement with place-making institutions (particularly those in heritage and tourism (Crab Man 2012), sometimes expressed in walking-as-performance, and now includes an investigation into how a walking self that is ‘to the side’ of the walking body can entangle with its terrain as the means to simultaneously (or at least as part of the same practice) narrate the landscape and transform its meanings (Oak 2017). Mythogeography is a narrative geography, characterised by the multiplicity of its layerings, dispersals, diffusions and displacements. There is never any single trajectory for its place-narratives. It does not seek such a singularity in the terrain nor set out to articulate one; instead it aims to dismantle and ease apart the layers of space, whirling around itself ideas about space in general and places in particular, while seeking to learn from the relations that subsequently develop between their different trajectories. It interposes the embodied presence of ambulant lay geographers in the gaps and voids described by Francesco Careri as characteristic of, rather than anomalous to, the modern city, empowered by “the continuity of empty areas and the irregular borders that permit the void to penetrate the solids” (Careri 2002, pp. 182–83). Given the analogies here—to the ‘mining’ of space and body described by some dancers and choreographers (“dancing in the landscape, I am performing a kind of mining or excavating of my identity” (Joyner (2013/14, p. 78), and the almost esoteric/Hermetic (‘as it is above, so it Humanities 2017, 6, 51; doi:10.3390/h6030051

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Humanities 2017, 6, 51

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is below’) descent through layers of a terrain as advocated by Tim Ingold as a counter to a global and abstracted research presence (Ingold 1993, pp. 32–35)—there is a danger that the materiality of things evaporates. That their materiality is reduced to its removal and commodification, reduced to what it means rather than what it does. In response to this threat, mythogeographical practice, over time, has risked contradicting itself to embrace the neo-vitalism of Deleuze and Guattari, the perverse ‘theoretical cut’ of the Object-Oriented Ontologists—things are not exhausted by either human use or human understanding of them—and particularly the articulation given by Jane Bennett of a “catalyst itself as it exists in nonhuman bodies... not transpersonal or inter-subjective but impersonal... the agency of the things that produce (helpful, harmful) effects in human and other bodies” (Bennett 2010, p. xii). Bennett has described how a “figure of enchantment” which she had previously discussed at length (Bennett 2001) pointed her to the unhuman agency she describes above, complementary to those “humans who feel enchanted” (ibid.), but now with the former (the thing) un-reliant upon the latter (the human). Given mythogeography’s past entanglement with and advocacy for just such a felt enchantment, particularly that of ‘dread’ (Smith 2006, p. 38), this recent engaging with what Bennett calls “thing-power” (Bennett 2010, p. 2) has had a profound effect not only on the ideas and general approach of mythogeography, but also on the detail of the ‘how’ of some of the practices associated with it. After initial and foundational exploratory wandering from 2001 onwards, initially with the site-specific performance-makers Wrights & Sites, the emphasis shifted to a gathering of philosophical and experiential materials through walking, and to making and dispersing exemplary walks and handbooks (Persighetti and Smith 2012; Crab Man 2012). More recently, however, my own and others’ practices broadly influenced by mythogeographical ideas have shifted again as those toolkits of tactics and ideas have increasingly been taken up by practitioners to make their own work, and their own toolkits for further dispersal; such as, for example, the publication of Roy Bayfield’s exegetical work ‘Desire Paths’ (Bayfield 2016) which systematically takes the different parts of a taxonomic ‘legend’ in ‘Mythogeography’ (Smith 2010) and subjects it to a series of journeys, meditations and surgical procedures across the UK. The tactics and ideas have not been radically changed by this wider development, adaptation and dispersal, but it has changed how (and to what purpose) some of those engaged with mythogeography are using them. Far less is it now necessary to ‘perform’ these tactics as exemplary and distributable, and far more they can be used for an enquiry that has more to do with the site and the things of the site. In other words, a return to the site-specificity from which all this began is in progress, and this brings “thing power” into play. This return to site-specificity, and to the vibrancy of the site as thing, and the things in and of the sites, has provoked me to re-think, unplanned, some of the fundamental assumptions of mythogeography; particularly about agency, about who or what is agentive as part of an ecology of place, and how the interventions of a walking practice (with their attendant danger of remodelling colonial tropes of exploration) change or repress change, by ‘making’, in a place. On a recent (June, 2017) field-conference ‘On The Moors’ on Dartmoor (Devon, UK), organised by postgraduate researchers in Plymouth University’s ‘Performance, Experience, Presence’ research group, during a writing exercise led by Professor Roberta Mock (the editor of ‘Walking, Writing & Performance’ (Mock 2009), who has been both an influential and supportive force in the development of mythogeography), I wrote while stimulated by the ideas and images of this partly peripatetic conference, a little wearied by its physical demands and drowsy from fresh air outside and the warmth of the bunkhouse inside. In response to Roberta’s prompts to each of us to re-describe our research for ourselves, somewhere between innovation and dozing off, I scribbled (along with less coherent and dreamier arguments): “It’s all one anti-pilgrimage, for undoing routes and assumptions about journey, in order to illuminate void-spaces or marginal spaces where dominant ideologies are weaker than in others... It is located in the space that was until recently identified as ‘inner life’, but is really both inner-and-outer, is an entangled space of terrain-self, of landscape-psychology, a reversal of the priorities of psychogeography.” Challenged to describe the hypothesis of my research, I wrote that “[T]here is a transformation


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of entangled self which can be a mass practice of lay-geography”. While there is nothing there of ‘thing-power’ or the independent agency of things, I note, now more awake, that I have put terrain ahead of self2017, and6,landscape before psychology, and acknowledged a changing of priorities. while Humanities 51 3 of That 29 this borderland formulation might still be correlationist—consistent with the idea that that “we never of entangled self which be a mass practice of lay-geography”. Whilep.there grasptransformation an object ‘in itself’, in isolation from can its relation to the subject” (Meillassoux 2008, 5)—ais shift was nothing there of ‘thing-power’ or the independent agency of things, I note, now more awake, that I and is occurring, not just in my ideas, but in my affective relation to them.

have put terrain ahead of self and landscape before psychology, and acknowledged a changing of priorities. That while this borderland formulation might still be correlationist—consistent with the 2. Results idea that that “we never grasp an object ‘in itself’, in isolation from its relation to the subject” (Meillassoux 2008, Ip.have 5)—a shift wasthis and unresolved is occurring, not just in my but in my affective relation parts of For this paper taken shifting in ideas, the privileging of different to them. the entanglements of mythogeography and used that motion as an uneasy theoretical basis for

an interpretation of the two sets of photographs taken during two ‘walks with objects’. These walks 2. Results were separated by a gap of almost four years, the first on April 27, 2013 and the second on January I have taken tactic this unresolved shiftingtoinwalk the privileging different parts 10, 2017. For On this bothpaper walks the same was deployed: without aofdestination, andoftothebe guided entanglements of mythogeography and used that motion as an uneasy theoretical basis for an by whatever objects the walker/s were drawn to and, where possible, to carry the objects with them, interpretation of the two sets of photographs taken during two ‘walks with objects’. These walks were allowing the by objects toalmost inform the walk they were27,carried andon for the walker/s to interact separated a gap of four years, theas first on April 2013 andalong, the second January 10, 2017. On withboth them, until the walker/s were drawn to a new object when they would pick that up and walks the same tactic was deployed: to walk without a destination, and to be guided byleave the carried objectobjects in its place. Repeating until the walkwhere was felt to betocompleted. whatever the walker/s were drawn to and, possible, carry the objects with them, allowing objects inform the alone, walk asand theybegan were carried along,Road and for the walker/s interact The firstthe walk, in to 2013, I took in Torbay in the seaside to town of Paignton with UK); them,on until the walker/s were drawn to(one a new object startlingly when they would pick that up and leave (Devon, a strip of cafes, takeaways selling orange chips), tattoo parlours and the carried object in its place. Repeating until the walk was felt to be completed. gift shops geared to serving holidaymakers. It would lead me down to the beach, then I would go The first walk, in 2013, I took alone, and began in Torbay Road in the seaside town of Paignton southwards along the front, cutting back and inland until finally returning to the first beach. From the (Devon, UK); on a strip of cafes, takeaways (one selling startlingly orange chips), tattoo parlours and beginning, when I photographed the castle-like shadows (Figure in then a broad alley, gift shops geared to serving holidaymakers. It would lead me down1) to thrown the beach, I would goI seemed drawn to objectsalong thatthe I could in some way. until My attention is on everyday about prices southwards front,interpret cutting back and inland finally returning to the firstsignage beach. From the beginning, when the castle-like shadows (Figure of 1) Ancient thrown in a broad alley, I Neffy’s or goods combining withI photographed unlikely representations—like the statues Egyptian gods at seemed drawn to objects that I could interpret in some way. My attention is on everyday signage Coffee House and in the doorway of a casino—invoking an absurd and unlikely authority. The sign about prices or parlour goods combining unlikely representations—like statues of Ancient Egyptian for Misfits tattoo declareswith “BLESSED ARE THE WEIRD the PEOPLE: The Poets, THE ARTIST... gods at Neffy’s Coffee House and in the doorway of a casino—invoking an absurd and unlikely the Writers & MUSIC MAKERS, the Dreamers & Outsiders”, and yet its cultural appropriation of authority. The sign for Misfits tattoo parlour declares “BLESSED ARE THE WEIRD PEOPLE: The Chinese imagery, Union Jack over its doorway, and the pirate symbol on its window all denote Poets, THE ARTIST... the Writers & MUSIC MAKERS, the Dreamers & Outsiders”, and yet its cultural varieties of conformity. The YOUUnion THINK WE PRINT IT! displays (presumably) appropriation of Chinese imagery, JackIT over its doorway, andclothing the pirateshop symbol on its window attractively exemplary images for t shirts (Figure 2); they are mostly ubiquitously marketed nationalist, all denote varieties of conformity. The YOU THINK IT WE PRINT IT! clothing shop displays (presumably) attractively exemplary images for t There shirts (Figure they are in mostly ubiquitously motor vehicle, superhero and music fan symbols. is very 2); little sense my early photographs of marketed nationalist, motor(including vehicle, superhero andnor music There is very little sense in active subjectivities at work my own); of fan anysymbols. agentive materiality. Instead, the things my early photographs of active subjectivities at work (including my own); nor of any agentive represented in the images seem driven and categorised by symbolism; my choice of images by the materiality. Instead, the things represented in the images seem driven and categorised by symbolism; ironies at play. my choice of images by the ironies at play.

Figure 1. Shadows.

Figure 1. Shadows.


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Figure 2. Torbay Road.

Figure 2. Torbay Road.

The one image that breaks this pattern came as I looked closely at the statue of a gorilla (Figure 3) Figure 2. Torbay Road.

outside of the cafes, noticing the came material responding rubbing hands(Figure and The oneone image that breaks this how pattern as was I looked closelytoatpeople the statue of aits gorilla 3) feet, polishing those parts of the object with grease and salt from their own hands. I was drawn to the outside one theimage cafes, noticing how the material responding to people hands Theof one that breaks this pattern came as Iwas looked closely at the statue ofrubbing a gorilla its (Figure 3) and evidenceone ofthose where this attention was directed. Perhaps down small children touching the to outside of theparts cafes, noticing how the material was responding to people rubbing hands and feet, polishing of the object with grease and salttofrom their own hands.itsIparts wasofdrawn statue most available to them, perhaps the opportunity to enact anown impossible a feet, polishing those parts of theorobject grease and salt from their hands. Iinteraction wastouching drawnwith to the the evidence of where this attention waswith directed. Perhaps down to small children parts of giant animal; intimate and gentle, and far from the reaction intended by the formative symbolic evidence of where this attention was directed. Perhaps down to small children touching parts of the the statue most available to them, or perhaps the opportunity to enact an impossible interaction with portrayals male gorillas likeorEmmanuel 1887tosculpture the Kinginteraction Kong movies: of statue mostofintimate available to them, perhaps theFrémiet’s opportunity enact an or impossible a a giant animal; and gentle, and far from the reaction intended by the formativewith symbolic animals disposed to rape. giant animal; intimate and gentle, and far from the reaction intended by the formative symbolic portrayals of male gorillas like Emmanuel Frémiet’s 1887 sculpture or the King Kong movies: of animals portrayals of male gorillas like Emmanuel Frémiet’s 1887 sculpture or the King Kong movies: of disposed to rape. animals disposed to rape.

Figure 3. Gorilla.

Crossing an emptied, tarmac-surfaced space, from which it appeared that either play equipment Figure 3. Gorilla. or a carousel might have been removed, there was cast iron gate at one end spelling FUNLAND. Figure 3. aGorilla. ICrossing headed an foremptied, the beach, where I began to pick up dance with various objects: shells tarmac-surfaced space, from and which it appeared that either playsticks, equipment and seaweed. I see from the photographs that I switch from using a knife-shaped stick, adding to my or a carousel might have been removed, there was a cast iron gate at one end spelling FUNLAND.

Crossing an emptied, tarmac-surfaced space, from which it appeared that either play equipment I headed for the beach, where I began to pick up and dance with various objects: sticks, shells or a carousel might have been removed, there was a cast iron gate at one end spelling FUNLAND. and seaweed. I see from the photographs that I switch from using a knife-shaped stick, adding to my I headed for the beach, where I began to pick up and dance with various objects: sticks, shells and seaweed. I see from the photographs that I switch from using a knife-shaped stick, adding to my


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own shadow on the sand—an image of aggression that I remember feeling uneasy with—to waving a piece seaweed in relation toimage the horizon (Figurethat 4a,b). The sharp knife-like had pulled ownof shadow on the sand—an of aggression I remember feeling uneasystick with—to wavingmy a piece of seaweed in relation to the (Figure 4a,b). The pulled mylast focus downwards, to the sand, but thehorizon seaweed had drawn mesharp to theknife-like distancestick and had these are the focus downwards, to the sand, but the seaweed had drawn me to the distance and these are the last images taken on this beach. images taken on this beach.

(a)

(b) Figure 4. (a) Stick; (b) Seaweed.

Figure 4. (a) Stick; (b) Seaweed. Crabbing off the beach and around the harbour, nothing ‘grabbed’ me until I found a flower bed ofCrabbing red earthoff and reached to lift out coagulated lump ‘grabbed’ of the soil. me Looking the photograph the beach down and around theaharbour, nothing until Iatfound a flower bed now, I am struck by how the focus is on a red-painted anchor in the background—a part of which I of red earth and reached down to lift out a coagulated lump of the soil. Looking at the photograph had touched and cupped with my hand, perhaps unconsciously mimicking (I have no memory of now, I am struck by how the focus is on a red-painted anchor in the background—a part of which I had noticing the connection at the time) those who had felt parts of the metal gorilla sculpture. My touched and cupped with my hand, perhaps unconsciously mimicking (I have no memory of noticing preoccupation seems to be with the context from which the objects have come, rather than with the the connection at the time) those who had felt parts of the metal gorilla sculpture. My preoccupation objects themselves. I had taken a token of the soil (Figure 5a), a part of the ‘whole’—reproducing seems to be with the context from to which thedirectly objects have come, rather with the objects themselves. mythogeography’s disposition moving from ‘small’ things than to a ‘big picture’—just as I had I had taken a token of the soil (Figure 5a), a part of the ‘whole’—reproducing mythogeography’s waved the seaweed in relation to the sea vista.

disposition to moving directly from ‘small’ things to a ‘big picture’—just as I had waved the seaweed in relation to the sea vista.


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(a)

(b)

(c)

(d)

(e)

Figure 5. (a) Soil; (b) Soil and limestone; (c) Soil and dry sand; (d) Soil and wet sand; (e) Soil and waves.

Figure 5. (a) Soil; (b) Soil and limestone; (c) Soil and dry sand; (d) Soil and wet sand; (e) Soil and waves.

I walked with the red soil, coloured by the same 300 million year old Permian deserts as had stained the beaches; iron oxidising as 400 million year old Devonian limestone mountains cracked


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and Humanities crumbled under 2017, 6, 51 the impact of millions of years of sun and storms. I broke the lump 7 of 29of soil as I went; my own personal anthropocene. I photographed the gently cupping hand, but the fingers I walked the redTaking soil, coloured million year old Permian deserts as had with the were grinding as with I walked. the soilbytothe thesame next300 beach—Goodrington Sands—playing stained the beaches; iron oxidising as 400 million year old Devonian limestone mountains meaning of the walk with the help of the red soil seemed ironical; as if a seam stitched cracked the touch of the and crumbled under the impact of millions of years of sun and storms. I broke the lump of soil as I sand in my hand—changing, as changed, from gritty to silky—and the give of the sand under my feet, went; my own personal anthropocene. I photographed the gently cupping hand, but the fingers were wet and dry; as I read the sand andthe thesoil sand read mebeach—Goodrington (Figure 5b–e). When I held the dry earth grinding I walked. Taking to the next Sands—playing with the over the waters, I was playing with the two objects, soil and sea, as the parts of a metaphor, and meaning of the walk with the help of the red soil seemed ironical; as if a seam stitched the touch as of parts of a constructed (foreground as and background). the sand inimage my hand—changing, changed, from gritty to silky—and the give of the sand under my feet, and dry; I read the sand andback the sand readbeach me (Figure 5b–e). When I held the(Figure dry earth Thewet sudden appearance at the of the of a steam locomotive 6),over apparently thealong waters, I was playing the two objects,beach soil and sea, seems as the parts of a metaphor, anddiscomfortingly as parts racing the roofs of thewith candy-coloured huts, to have shocked me a constructed image (foreground and background). into aofdifferent scale. While the objects I had chosen to play with, crumble, toss and shake, were easily The sudden appearance at the back of the beach of a steam locomotive (Figure 6), apparently manipulated in my hand—and my hand had, through the lens of my camera (set to automatic) become racing along the roofs of the candy-coloured beach huts, seems to have shocked me discomfortingly a distinct in my walk, independent and agentive in were its own right—the into a “player” different scale. While theapparently objects I had somewhat chosen to play with, crumble, toss and shake, easily locomotive was of quite different capable of crushing ormy amputating that hand, obliterating manipulated in amy hand—and my‘order’, hand had, through the lens of camera (set to automatic) become a and distinct “player” in my walk, apparently somewhat independent and agentive in itsthe ownsun from its structure identifiableness. I could block the engine’s appearance—as I could right—the locomotive was of a quite different ‘order’, capable of crushing or amputating that hand, my eyes, by raising my hand—but the HRUFFF HRUFFF HRUMPH of its expulsions of smoke, the hot obliterating its structure identifiableness. I couldasblock theup engine’s appearance—as I could the clank of furnace of the boiler that I and knew would be roaring it ‘got steam’, and the hauntological sun from my eyes, by raising my hand—but the HRUFFF HRUFFF HRUMPH of its expulsions of its joints—would still impose upon me. The train’s massive and spectacular consumption of fossil fuel smoke, the hot furnace of the boiler that I knew would be roaring as it ‘got up steam’, and the returned me briefly to the role of a spectator in the world; to carbon, to being a resource of production hauntological clank of its joints—would still impose upon me. The train’s massive and spectacular rather than a producer. wasreturned jerked out the pleasant, easy setting ‘atcarbon, the mercy’ of the consumption of fossilI fuel me of briefly to the rolesunny, of a spectator in theoneself world; to to objects in athe welcoming terrainrather of a holiday beach; riding the thinned outpleasant, and secularised being resource of production than a producer. I was jerked out of the sunny, easyambience setting oneself ‘at the of theaobjects in the welcoming a holiday beach; riding of threadbare leisure hadmercy’ generated melancholy pleasure. terrain But theofgiant (scale, again, wasthe important, secularised threadbare leisure generated pleasure.a massive but Ithinned am not out sureand I noticed so atambience the time)ofthing was not evenhad ‘real’—it wasa amelancholy nostalgia-object, But the giant (scale, again, but, was important, I am notgone sure Iitself. noticed so at the marked time) thing not remains. marker of what had gone, evidently,but had not Absence bywas what even ‘real’—it was a nostalgia-object, a massive marker of what had gone, but, evidently, had not A private railway. gone itself. Absence marked by what remains. A private railway.

Figure 6. Steam locomotive.

Figure 6. Steam locomotive.

The viewing carriage at the end of the train was like a metaphor tacked on to a machine. The large glass windows made passengers and train onlookers spectators of each divided byThe large The viewing carriage at the end of the was alike like ainto metaphor tacked onother, to a machine. a hard transparency. I was hugely pleased with the pictorial look of the thing; but I was implicated glass windows made passengers and onlookers alike into spectators of each other, divided by a hard in something which made me feel uneasy.

transparency. I was hugely pleased with the pictorial look of the thing; but I was implicated in something which made me feel uneasy. I don’t remember whether it was that steam locomotive which turned me inland; or if the “motive” in its name struck me then as it does now when I strike keys to type it on the screen in front of me.


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I don’t Humanities 2017, remember 6, 51

whether it was that steam locomotive which turned me inland; or 8ifofthe 28 “motive” in its name struck me then as it does now when I strike keys to type it on the screen in front of me. There until II reached reached some some kind kindof ofgreen greenenclave, enclave,aasmall smallnature naturereserve, reserve,a There are are no no photographs photographs until adistance distance(some (somehundreds hundredsofofmetres) metres)from fromthe theshore. shore.I have, I have, despite numerous visits, and study despite numerous visits, and study of Humanities 2017, 6, 51 8 of 29 of maps and Google images, been unable to find my way back to this green space within the town. maps and Google images, been unable to find my way back to this green space within the town. Wherever and however I Imap there does not seem toto bebe space forfor it. it. Yet, I have the images of WhereverI Ilook however mapitit,it, there seem space I have Ilook don’tand remember whether was that does steamnot locomotive which turned me Yet, inland; or if the the images the faded paint and lichen crusted signboards at its boundary. The framing of the images show that “motive” in itsand name struckcrusted me then as it does nowat when strike keys to typeframing it on the screen front show of the faded paint lichen signboards its Iboundary. The of theinimages Ithat am enjoying dismembering the sentences: “VALUE”, “REMAINS” (Figure 7a,b). Changing meaning of me. I am enjoying dismembering the sentences: “VALUE”, “REMAINS” (Figure 7a,b). Changing There are no photographs until IThe reached some kind ofmoralism green enclave, a small nature reserve, a by isolating and re-juxtaposing words. formality and of the exhortation to respect and meaning by isolating and re-juxtaposing words. The formality and moralism of the exhortation to distance (some hundreds of metres) from the shore. I have, despite numerous visits, and study of value over, or rather than, enjoy entangles with what is, for me now, the objective elusiveness of the respectmaps and and value over, or rather than, enjoy entangles with what is, for me now, the objective Google images, been unable to find my way back to this green space within the town. place itself. I of cannot find the it of Iit.cannot The détourned moralism of the images entangles with the something elusiveness the place itself. finddoes the not it of it. toThe détourned moralism Wherever I look and however I map it, there seem be space for it. Yet, I have the of images images in me that cannot re-find the signs and itself in the same space. entangles with something me that cannot re-find signs andThe itself in the space. of the faded paint andin lichen crusted signboards at the its boundary. framing of same the images show that I am enjoying dismembering the sentences: “VALUE”, “REMAINS” (Figure 7a,b). Changing meaning by isolating and re-juxtaposing words. The formality and moralism of the exhortation to respect and value over, or rather than, enjoy entangles with what is, for me now, the objective elusiveness of the place itself. I cannot find the it of it. The détourned moralism of the images entangles with something in me that cannot re-find the signs and itself in the same space.

(a)

(b) (a)

Figure 7. 7. (a) (a) Value; Value;(b) (b)Remains. Remains. Figure

(b)

The photographs show trampledFigure paths, the shadow of the bushes and trees, and the exchange 7. (a) Value; (b) Remains. The photographs show trampled paths, the shadow of the bushes and trees, and the exchange of the last few crumbs of soil for a stick (Figure 8a) and then the exchange of the stick for a plastic top from of the last few of soil fortrampled a stick paths, (Figure and of then bushes the exchange thethe stick for a plastic The crumbs photographs show the8a) shadow trees,ofand exchange (I think) a cylinder of Pringles crisps (Figure 8c). My tossingthethe stickand (Figure 8b) and then skimming of (I thethink) last fewacrumbs of soil a stick (Figure and then8c). the exchange of thethe stick for a(Figure plastic top8b) from top from cylinder of for Pringles crisps8a) (Figure My tossing stick and then the plastic lid ainto the blue sky; trying and failing intossing the case of the lid to create a blurry image like (I think) cylinder of Pringles crisps (Figure 8c). My the stick (Figure 8b) and then skimming skimming the plastic lid into the blue sky; trying and failing in the case of the lid to create a blurry that from UFOlid sighting. the aplastic into the blue sky; trying and failing in the case of the lid to create a blurry image like image like that from a UFO sighting. that from a UFO sighting.

(a)

Figure(a) 8. Cont.


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(b)

(c) Figure 8. (a) Soil residue; (b) Stick in air; (c) Stick and plastic lid exchange.

Figure 8. (a) Soil residue; (b) Stick in air; (c) Stick and plastic lid exchange. These images provoke little in the way of affect or imaginary orientation. While I have some sense of howprovoke my body little felt oninthe beach looking at a orientation. map—what my routeIhad been, I sense These images the wayand—without of affect or imaginary While have some have very little sense of how I was or of exactly where I was and where or how I went within the of how my body felt on the beach and—without looking at a map—what my route had been, I have nature reserve (I first mis-typed “reverse”) of that “was”. These images no longer seem to attach very little sense of how I was or of exactly where I was and where or how I went within the nature themselves to any memories. Perhaps because memories are recreated each time they are called-toreserve mind, (I firstrather mis-typed “reverse”) of from that a“was”. images no longer seem attachspace themselves than simply accessed fix storeThese of recall, my failure to re-find theto‘actual’ to any memories. because memories the are affect recreated time Ithey called-to-mind, has perhapsPerhaps neutralised or short-circuited of theeach memory. can are recall the shape and rather shadows and colours; I don’t feelof them in themy memory anytomore. I ‘know’ there space was a certain than simply accessed frombut a fix store recall, failure re-find the that ‘actual’ has perhaps ‘magic’ to the space and I assume there was some nervousness as I made my way down dark andcolours; neutralised or short-circuited the affect of the memory. I can recall the shape and shadows and but I don’t feel them in the memory any more. I ‘know’ that there was a certain ‘magic’ to the space and I assume there was some nervousness as I made my way down dark and narrow paths between tall green shrubs and ferns (but were there ferns?), yet I don’t feel that, or the memory of that, now. Only when I get to the photograph of the steel container—I remember this being on the very edge of the green space, transitioning to a new kind of terrain, a void space between the nature reserve and


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an institutional building of some kind—do I once again remember feeling the presence of an object and how it actively marked a change of ambience, which, in looking at the photos of it, I somehow ‘re-feel’. I have at some point used the facility on my pc to turn the image of the container upside down so that the word “SKY” can be read ‘right-way-up’ and the image of the sky is inverted. The image of the sky becomes unreal—“SKY” rather than sky is the real thing—the sky falls to the ground10(Figure 9a). Humanities 2017, 6, 51 of 29 And, I do remember how on the day its giant blueness was as close and dominant as what was holding paths between tall green shrubs and ferns (but were there ferns?), yet I don’t feel that, or the me up narrow from beneath. The space of flying as thick as the space of falling; which perhaps explains my memory of that, now. evident desire to throw things in the air and photograph them in flight. Only when I get to the photograph of the steel container—I remember this being on the very Having in the attempt to maketoa afuzzy but coherent I used the Pringles top edge offailed the green space, transitioning new kind of terrain,‘UFO’ a void image, space between the nature to ‘attach’ to the contrail of an airliner passing overhead (Figure 9b). I am unsure if a memory reserve and an institutional building of some kind—do I once again remember feeling the presence of the and has howbeen it actively marked aor change of ambience, in looking at the photos of it, I sound of ofan itsobject engines obliterated, if in the moment,which, by making a nonsense of the distance, somehow ‘re-feel’. I have at usedwas the none facilitytoon pc to theto image I had obliterated a perception ofsome it, orpoint if there bemy had. It turn is odd lookofatthe ancontainer image and feel upside down so thatgiven the word can be readare ‘right-way-up’ and the image of the sky is inverted. its silence, particularly; that“SKY” all the images silent. The image of the sky becomes unreal—“SKY” rather than sky is the real thing—the sky falls to the Rather than cupping, whirling, stabbing, crumbling and wiping, I was now tossing and skimming ground (Figure 9a). And, I do remember how on the day its giant blueness was as close and dominant and holding up. as what was holding me up from beneath. The space of flying as thick as the space of falling; which Once beyond the green anddesire the boundary marked by the I dothem remember perhaps explains my space evident to throwzone things in the air steel andcontainer, photograph the look in and flight.feel of a road, Fisher Street, in which I stood and held up the plastic lid against the blue failed in the attempt to an make a fuzzy but acoherent ‘UFO’ image, Imyself used thewith Pringles sky. I felt aHaving tinge of ‘alienation’ there, a-sitedness, struggle to ground the top tall brick to ‘attach’ to the contrail of an airliner passing overhead (Figure 9b). I am unsure if a memory of the walls and thatched roofs, and the suburban-style houses, a sense of exclusion and anonymity that I had its engines has then; been obliterated, if indefensive the moment, by making nonsense of town’s the distance, not feltsound in theoftown up until an uneasyorand space on the aedge of the centre that I had obliterated a perception of it, or if there was none to be had. It is odd to look at an image and had not yet relaxed into a suburb, but was no longer ‘important’ or central to what the town now was. feel its silence, particularly; given that all the images are silent.

(a)

Figure 9. Cont.


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(b) Figure 9. (a) Inverted image of container; (b) Lid and blue sky.

Figure 9. (a) Inverted image of container; (b) Lid and blue sky. Rather than cupping, whirling, stabbing, crumbling and wiping, I was now tossing and skimming and up. so thrilled—I recall the rising excitement the closer I looked—by the Perhaps that isholding why I was Once beyond the green space and the boundary zone marked by the steel container, I do decaying palimpsest (Figure 10) at MABEL PLACE (MARLL CLOSE). It was, though, still stuck in remember the look and feel of a road, Fisher Street, in which I stood and held up the plastic lid against a messing with representation. The feel of warm dry earth and of twisting and turning my body on the blue sky. I felt a tinge of ‘alienation’ there, an a-sitedness, a struggle to ground myself with the the beach response to seaweed theand sharp were gonehouses, now; my senseofofexclusion the lostness tall in brick walls and thatched and roofs, the stick suburban-style a sense and of the street, anonymity unable to that connect to what it is an was, nowand entangled own sense of I had what not feltitinhad the been town up until then; uneasy defensive with spacemy on the edge inappropriateness and out-of-body-ness. Yet,into I couldn’t farlonger as I remember—and have not of the town’s centre that had not yet relaxed a suburb,then—as but was no ‘important’ or central to what out the town now was. of that unease. I walked the street again recently, as part of a different since worked the proportions Perhaps that why I was so thrilled—I recall the rising theofcloser thethan to project, and felt an echois of that experience, a connection to myexcitement imagining whatI looked—by it was rather decaying palimpsest (Figure 10) at MABEL PLACE (MARLL CLOSE). It was, though, still stuck in a the feeling in-itself. Maybe that is why I wanted to throw the UFO from it, drag the airplane down to messing with representation. The feel of warm dry earth and of twisting and turning my body on the it. Playbeach the silly word game about it. in2017, response Humanities 6, 51 to seaweed and the sharp stick were gone now; my sense of the lostness of12the of 29 street, unable to connect what it had been to what it is was, now entangled with my own sense of inappropriateness and out-of-body-ness. Yet, I couldn’t then—as far as I remember—and have not since worked out the proportions of that unease. I walked the street again recently, as part of a different project, and felt an echo of that experience, a connection to my imagining of what it was rather than to the feeling in-itself. Maybe that is why I wanted to throw the UFO from it, drag the airplane down to it. Play the silly word game about it.

Figure 10. Street Name.

Figure 10. Street Name.

At the junction of this street with a busier, arterial road, I called in at a ‘junk shop’, attracted by thethe display of items on the pavement on one of its by At junction of this street with aoutside. busier, Surreptitiously arterial road, Idepositing called in my at aplastic ‘junk lid shop’, attracted shelves, I bought for a few pounds (I forget the exact prices, but the total may have been as low as £2)of its the display of items on the pavement outside. Surreptitiously depositing my plastic lid on one a silhouette print and an oil painting of a seashore (Figure 11), both framed. Rather than take grime from the gutter or some dropped litter, I was returning to my initial focus on representations (and now increasingly sophisticated ones) instead of things-in-themselves.

Figure 10. Street Name. Humanities 2017, 6, 51

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At the junction of this street with a busier, arterial road, I called in at a ‘junk shop’, attracted by the display of items on the pavement outside. Surreptitiously depositing my plastic lid on one of its shelves, shelves, II bought bought for for aa few few pounds pounds (I (I forget forget the the exact exact prices, prices, but but the the total total may may have have been been as as low low as as £2) £2) aa silhouette print and an oil painting of a seashore (Figure 11), both framed. Rather than take grime silhouette print and an oil painting of a seashore (Figure 11), both framed. Rather than take grime from litter, I was returning to my initial focus on representations (and (and now from the thegutter gutterororsome somedropped dropped litter, I was returning to my initial focus on representations increasingly sophisticated ones) instead of things-in-themselves. now increasingly sophisticated ones) instead of things-in-themselves.

Figure 11. Oil painting. Figure 11. Oil painting.

I brought my two purchases out of the shop and laid them out in order to view them in the I brought my two purchases of theashop andscene laid them in order to view them in that the sunlight (Figure 12). The painting out depicted seaside and aout cloudy sky; yet the sunlight sunlight (Figure 12). down The painting depicted a seaside scene and a in cloudy sky; yet thata was directly bearing that day, in the image, seems to spiral the texture of the the sunlight paint itself; was directly bearing down that day, in the image, seems to spiral in the texture of the paint itself; substitute sun for the one ‘missing’ from the painting. The reflection is the thing itself and, at the asame substitute sunrepresentation for the one ‘missing’ the painting. reflection is the thing itselfthe and, at was the time, the of itself;from rather than simplyThe acting (in the everyday sense), sun same time, the of itself;I rather thanthe simply actingof(in everyday sense), thefeeling sun was performing (inrepresentation the theatrical sense). remember intensity thethe sun that day, but the of performing (in the theatrical sense). I remember the intensity of the sun that day, but the feeling of the memory, the affect that the recreated memory (each time I recall it now) generates, is not as intense as my immediate experience of the photographic image now, as I type this: I sweat a little as I sit at the computer; my forehead is sticky. The stickiness on my fingers, which I transfer to the keys as I type this, feels related to the texture of the oil paint of the framed picture, softening, back then, under the sun. So, while the materials are no longer accessible—the painting long ago disposed of—there is the effect of that softening, that agency. There is a sense, then, in which the experience, the memories and affect of memories, all run into each other, in the way that the colours of a painting might do the same if they remained under intense heat, and that what replaces the sun and paint as agents is the act itself: the softening. Something that had been lacking in the direct ‘setting oneself at the mercy of’ the terrain and its objects on the day of the walk, was now compensated for in my tainted engagement with their representations, not by the symbols or the re-presenting of the objects, but by that softening which continues to have agency upon materials (in this case, upon the bodily, physical materials—the skin and its perspiration—of affect). The text in German for the silhouette I had bought was “Ein Str¯außchem am Hute und den Stab in der Hand”—flowers in the hat, and a stick in the hand—the title of a German song of ‘wandering’, the practice of a solo male figure who abandons home, driven by the attractions of rootlessness, abandoning the “lovely girl” he meets because he feels compelled always to return to his search for the “far country”. This might sound like an uncompromising indictment and abandonment of domesticity and belonging, but the melancholy “wandersmann” can be read another way: as an indictment of what


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the memory, the affect that the recreated memory (each time I recall it now) generates, is not as intense experience of the photographic image now, as I type this: I sweat a little as I13sit at of 28 the computer; my forehead is sticky. The stickiness on my fingers, which I transfer to the keys as I type this, feels related to the texture of the oil paint of the framed picture, softening, back then, under belonging home homeland) become. That home, love and country were only—at least, the sun. So,and while the(and materials are nohave longer accessible—the painting long ago disposed of—there is at present—available in ideal terms. The melancholy of the “wandersmann”, who eventually walks the effect of that softening, that agency. There is a sense, then, in which the experience, the memories beyond hisofown life ontoall celestial trails looks through his colours grave toofhow little hemight has enjoyed and affect memories, run into eachand other, in back the way that the a painting do the of earthly happiness, fits with a reactionary, but modernist ambience, a belief in the “decline same if they remained under intense heat, and that what replaces the sun and paint as agentsof is the the West”, in a European cultural ennui in the face of industrialism and foreign exoticism. It is no surprise act itself: the softening. Something that had been lacking in the direct ‘setting oneself at the mercy of’ then that the figure of theon wanderer, cities the rural orfor wild path, would be fought the terrain and its objects the day ofescaping the walk,the was nowfor compensated in my tainted engagement over by fascists and socialists alike in the 1920s and 1930s (the artist responsible for the silhouette with their representations, not by the symbols or the re-presenting of the objects, but by that softeningI had bought, Richard Borrmeister, chosematerials his own path, painting propaganda postcards the Nazis which continues to have agency upon (in this case, upon the bodily, physicalfor materials— in the 1930s). the skin and its perspiration—of affect). as my immediate Humanities 2017, 6, 51

Figure 12. Silhouette. Figure 12. Silhouette.

The text in German for the silhouette I had bought was “Ein Strāußchem am Hute und den Stab Given that many ofinmy performance practices modes of walking, in der Hand”—flowers theresearch hat, and and a stick in the hand—the titleare of afocused Germanonsong of ‘wandering’, it appears odd, retrospect, that I hardly engaged home, with this printby at all; the text and the practice of in a solo male figure who abandons driven thephotographing attractions of rootlessness, artist’s name for my record, but apparently uninterested in its depiction of a walker. Compared to abandoning the “lovely girl” he meets because he feels compelled always to return to his search for the two images taken of this print, I took a further 25 photographs of the painting, which I carried the “far country”. This might sound like an uncompromising indictment and abandonment to of the beach—a knowing obviousness: ‘a painting of a beach, where else should it go?’—and using it domesticity and belonging, but the melancholy “wandersmann” can be read another way: as an as a base for an assemblage of items found at the water’s edge, finally setting it ‘at the mercy’ of the indictment of what belonging and home (and homeland) have become. That home, love and country gently incomingleast, waves. were only—at at present—available in ideal terms. The melancholy of the “wandersmann”, First, however, thebeyond imageshis show that had wiped, smalland circles, the grime who eventually walks own lifeI onto celestialintrails lookssome backofthrough his from gravethe to surface of the painting (Figure 13), allowing ‘balls’ of the brighter blue and white of the painted sky toa how little he has enjoyed of earthly happiness, fits with a reactionary, but modernist ambience, come the otherwise surface; thesecultural images ennui I am fairly certain I was referencing beliefthrough in the “decline of thedirty West”, in a seeing European in the face that of industrialism and the aerial phenomena sighted over Nuremberg in 1561 and the contemporary woodcut ofcities the event by foreign exoticism. It is no surprise then that the figure of the wanderer, escaping the for the Hans Glaser 14). be fought over by fascists and socialists alike in the 1920s and 1930s (the rural or wild(Figure path, would Yet, although the reference seems apparent toRichard me now,Borrmeister, I had entirely forgotten making such artist responsible for the silhouette I had bought, chose his own path,any painting marks at all, until I saw the images again, let alone there being any resonance with a second German propaganda postcards for the Nazis in the 1930s). printmaker. Mymany memory is research excitedlyand focused, apparently to theare exclusion actions, on the Given that of my performance practices focused of onother modes of walking, it brightly coloured assemblages and the play of light on the water within which I set the painting ofand the appears odd, in retrospect, that I hardly engaged with this print at all; photographing the text beach 15a–d). artist’s(Figure name for my record, but apparently uninterested in its depiction of a walker. Compared to Conducting this of remote auto-ethnography walks forofthis enacting kind of the two images taken this print, I took a furtherof 25 my photographs the article, painting, which I acarried to Passivity-as-Research, in which I mull over images, I have struggled with the sheer number of items


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the beach—a knowing obviousness: ‘a painting of a beach, where else should it go?’—and using it as beach—a obviousness: ‘a painting a beach, where else setting should itit ‘at go?’—and using as athe base for an knowing assemblage of items found at the of water’s edge, finally the mercy’ of itthe a base incoming for an assemblage gently waves. of items found at the water’s edge, finally setting it ‘at the mercy’ of the gently incoming First, however, the images show that I had wiped, in small circles, some of the grime from the Humanities 2017, 6, 51waves. 14 of 28 First, however, the(Figure images13), show that I had wiped, small circles, some of the grime from sky the surface of the painting allowing ‘balls’ of theinbrighter blue and white of the painted surface the painting (Figure 13), allowing ‘balls’ of the brighter blue andfairly whitecertain of the painted sky to comeofthrough the otherwise dirty surface; seeing these images I am that I was that make up the assemblage of visual materials; there is far more than I can hope to address in the to come through the otherwise dirty surface; seeing these images I am fairly certain that I was referencing the aerial phenomena sighted over Nuremberg in 1561 and the contemporary woodcut writing here. Volume, silence and distance are all active. referencing aerialGlaser phenomena of the event the by Hans (Figuresighted 14). over Nuremberg in 1561 and the contemporary woodcut of the event by Hans Glaser (Figure 14).

Figure 13. Painting wiped in circles. Figure 13. Painting wiped in circles. Figure 13. Painting wiped in circles.

Figure 14. Shapes sighted over Nuremberg, 1561. Figure 14. Shapes sighted over Nuremberg, 1561. Figure 14. Shapes sighted over Nuremberg, 1561.

Yet, although the reference seems apparent to me now, I had entirely forgotten making any such marks at all, until I saw the images again, let alone there being any resonance with a second German printmaker. My memory is excitedly focused, apparently to the exclusion of other actions, on the Humanities 2017, 6, 51 assemblages and the play of light on the water within which I set the painting 15 of of 28 brightly coloured the beach (Figure 15a–d).

(a)

(b)

(c)

(d)

Figure 15. (a) First assemblage; (b) Second assemblage; (c) Waves wash assemblages away; (d) Waves Figure 15. (a) First assemblage; (b) Second assemblage; (c) Waves wash assemblages away; (d) Waves wash sand over the painting. wash sand over the painting.

Conducting this remote auto-ethnography of my walks for this article, enacting a kind of Using my camera in as which a notebook the punctuation of my journeys by repeated jottings Passivity-as-Research, I mullprecluded over images, I have struggled with the sheer number of items in a notebook. I have no reason—which does not mean there are not any—to believe that that make up the assemblage of visual materials; there is far more than I can hope to addresswritten in the note-taking havesilence been any reliable a means writing here.would Volume, andmore distance are all active.to recover the walks. When I am note-taking, eitherUsing during or immediately after a walk, I am that there is journeys always aby layering involved, my camera as a notebook precluded theaware punctuation of my repeated jottings with a varying thickness/thinness of description. That no matter how immersed or immediately in a notebook. I have no reason—which does not mean there are not any—to believe that written reflective these writings mayany be, more they reliable are always already mediated. The reviewing, and note-taking would have been a means to recover the walks. When I amcopying note-taking, pasting and describing of images for this article, has not felt to be instrumentally or emotionally very either during or immediately after a walk, I am aware that there is always a layering involved, with different the lifting andof quoting of passages phrases a set of Sitting reflective at the pc, a varyingfrom thickness/thinness description. That noand matter howfrom immersed ornotes. immediately the objects I see represented on the screen no longer have an apparent agency of their own—the pc these writings may be, they are always already mediated. The reviewing, copying and pasting and is, at my request, performing their re-presentation. Their digital images, however, do have some describing of images for this article, has not felt to be instrumentally or emotionally very different agency: sometimes resist use by their non-readability, blurred or dazzling, from thethey lifting and quoting oftheir passages and phrases from a set oftoo notes. Sitting at the pc, sometimes the objects the software reads the camera’s original orientation and they swivel through 90 degrees when inserted I see represented on the screen no longer have an apparent agency of their own—the pc is, at my in the text. My own manipulations of these images—juxtaposition, shrinking, and so on—while request, performing their re-presentation. Their digital images, however, do have some agency: they assembling the paper, mostly writing in between the than writing the text then sometimes resist their use by their non-readability, tooimages, blurredrather or dazzling, sometimes the and software illustrating it, as I usually do, are poor relations, affect-wise, to my engagement with the objects reads the camera’s original orientation and they swivel through 90 degrees when inserted in the text. encountered on the walks; the objects are always absent. Even ifand I had archived all the objects My own manipulations of these images—juxtaposition, shrinking, so on—while assembling theI walked with, their agencies—drying out, crumbling, slipping behind piles of papers—would have paper, mostly writing in between the images, rather than writing the text and then illustrating it, as I been quite small, and immediatetoinstance of this took place the first walk: afteron it was usually do,different. are poorArelations, affect-wise, my engagement with theon objects encountered the ‘over’, walking back to the station with the oil painting, part of the thin card backing suddenly fell away (Figure 16a) to reveal a hilly landscape painted on the reverse of the beach scene, with a text (that I found impossible to decipher) written in blue ink on the inner part of the card (Figure 16b).

walks; the objects are always absent. Even if I had archived all the objects I walked with, their agencies—drying out, crumbling, slipping behind piles of papers—would have been quite different. A small, and immediate instance of this took place on the first walk: after it was ‘over’, walking back to the station with the oil painting, part of the thin card backing suddenly fell away (Figure 16a) to Humanities 6, 51 reveal2017, a hilly landscape painted on the reverse of the beach scene, with a text (that I found impossible16 of 28 to decipher) written in blue ink on the inner part of the card (Figure 16b).

(a)

(b)

Figure 16. (a) Backing falls away; (b) Indecipherable writing.

Figure 16. (a) Backing falls away; (b) Indecipherable writing.

I miss the pleasure of the walking, I remember it with pleasure; however, in trawling through these images—there of them that I beginittowith feel pleasure; lost even though I aminmostly able through to I miss the pleasureare of so themany walking, I remember however, trawling where I found left these anxious; feel lost out of control at times, these‘place’ images—there areand so many of things—I them thatamI begin toIfeel even though I amdaunted mostlybyable to an obligation to explain. of the things—I imagery feels my ever-understanding. Yet, the walk, ‘place’ where I found andMuch left these ambeyond anxious; I feel out of control atintimes, daunted even when I had perceived a bewildering complexity of textures or materials or juxtapositions, I still by an obligation to explain. Much of the imagery feels beyond my ever-understanding. Yet, in the seemed to find a way of being enjoyably at ease with them. Writing with the images at my pc, I am walk, even when I had perceived a bewildering complexity of textures or materials or juxtapositions, enjoying what I have produced (the incremental completion of the task), but when walking I was I still seemed to find a way of being enjoyably at ease with them. Writing with the images at my pc, enjoying the becoming that the walking was ushering. On the walk I was both in the present, in the I ammoment enjoying what I havewith produced (the incremental completion of the task), but walking I was and engaging the absurdity of that: everything around me marked by when its contingency enjoying the becoming that the walking was ushering. On the walk I was both in the present, and genealogies. Sifting through the images, however, I feel that I have over-de-familiarised both the in the moment with absurdity of that: everything around marked by thingsand andengaging myself; that thethe verfremdungseffekt is too strong. Rather thanme a disruption of its an contingency overly process revealing mechanics, I am brusquely alienated (and alienating) from the both and taken-for-granted genealogies. Sifting through theitsimages, however, I feel that I have over-de-familiarised machine of myself. write about the affect of the walksRather through the inadequate resources the things and myself;Expecting that the to verfremdungseffekt is too strong. than a disruption of an overly of a photographic gallery, the taint of auto-ethnography—rather than a tainted auto-ethnography—turns taken-for-granted process revealing its mechanics, I am brusquely alienated (and alienating) from the out to be the more powerful. The problem is more primary and fundamental than I had expected: the machine of myself. Expecting to write about the affect of the walks through the inadequate resources of appropriating impulse in relation to things on an exploratory walk, and the melancholic and a photographic gallery, the taint of auto-ethnography—rather than a tainted auto-ethnography—turns gendered affect of the exploratory walker in relation to an imagined passive and ever-forgiving out to be the more powerful. The problem is more primary and fundamental than I had expected: the landscape, have been just as much present (to be deferred and resisted) in a process of writing from appropriating impulse inof relation to things on an exploratory walk, and the melancholic and gendered images as in a process immersed note-taking. affect of Indeed, the exploratory walker in emerged relation from to anthe imagined passive ever-forgiving landscape, one dynamic that has review, here, of theand images of the first walk is havethe been just as much (to of bethe deferred andfrom resisted) in a of process of writing images disappearance, orpresent ‘falling off’ landscape the edges the images. That infrom enacting an as in intensifying focus onnote-taking. the ‘close to hand’, searching down through layers of the terrain as advocated a process of immersed by Tim Ingold, cited above, thehas danger was notfrom so much an evaporation materiality of things, Indeed, one dynamic that emerged the of review, here, of of thethe images of the first walk is a reduction of what they do to what they mean, but, rather, an exaggeration of their discreteness. I the disappearance, or ‘falling off’ of the landscape from the edges of the images. That in enacting had acted out, as if programmatically, the idea of the real thing as non-relational; a concept central to an intensifying focus on the ‘close to hand’, searching down through layers of the terrain as advocated the ‘Object-Oriented Ontology’ of Graham Harman and others; a particular quality captured by Jeanby Tim Ingold, cited above, the danger was not so much of an evaporation of the materiality of things, Luc Nancy as “the sleeping thing at rest, sheltered from knowledge, techniques, arts of all kinds, a reduction of what they do to what they mean, but, rather, an exaggeration of their discreteness. I had exempt from judgements and prospects” (Nancy 2009, p. 14). The tramped dirt of the paths, the acted out, as of if programmatically, of thehad real thing as non-relational; central to the furniture the shop and the sandthe onidea the beach been gradually squeezed outaofconcept sight. Although ‘Object-Oriented Ontology’ of Graham Harman and others; a particular quality captured by Jean-Luc I had attempted to maintain some dynamic by my assemblage of objects on the painted canvas, the

Nancy as “the sleeping thing at rest, sheltered from knowledge, techniques, arts of all kinds, exempt from judgements and prospects” (Nancy 2009, p. 14). The tramped dirt of the paths, the furniture of the shop and the sand on the beach had been gradually squeezed out of sight. Although I had attempted to maintain some dynamic by my assemblage of objects on the painted canvas, the effect is less of a collective meaning and more of their fierce and colourful independence as discrete things: dead crab, tennis ball, cuttlefish bone. Working against this forward impetus to discreteness, that has emerged in the writing here, has been a more synchronic process of comparison. I had drawn from mythogeography’s privileging of the multiplicity of narratives, cited above, with the effect of putting something of a pre-emptive


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effect is less of a collective meaning and more of their fierce and colourful independence as discrete things: dead crab, tennis ball, cuttlefish bone. Humanities 2017, 6, 51 17 of 28 Working against this forward impetus to discreteness, that has emerged in the writing here, has been a more synchronic process of comparison. I had drawn from mythogeography’s privileging of the multiplicity of narratives, cited above, with the effect of putting something of a pre-emptive torque on too sudden a rush to the linear unfolding of the walks as their most significant quality. torque on too sudden a rush to the linear unfolding of the walks as their most significant quality. Rather than review first the images for one walk and then the images for the other, I have moved Rather than review first the images for one walk and then the images for the other, I have moved back back and forward between the two collections. Similarly, with my written analysis. In my head, this and forward between the two collections. Similarly, with my written analysis. In my head, this movement feels geographical asasmuch Thetwo twowalks walks took place in comparable movement feels geographical muchas asititisisintellectual. intellectual. The took place in comparable spaces, on the same stretch of coastline, both including beaches and a seaside town. It did spaces, on the same stretch of coastline, both including beaches and a seaside town. It did notnot feelfeel as as if I wereif moving far in far order to make speculative comparisons, soso where they feel I were moving in order to make speculative comparisons, wherethere thereare aredifferences, differences, they like significant variations materials the disparities of unlike things. I as morefeel likemore significant variations within within similarsimilar materials than than the disparities of unlike things. I was was as likely to detect variations within one of the walks as between the two. likely to detect variations within one of the walks as between the two. So,example, for example, I detected thatbetween between the the first taken on the second walk,walk, So, for I detected that first two twophotographs photographs taken on the second this time with my daughter, Rachel, there is a shift. Although the subject of the images is largely the this time with my daughter, Rachel, there is a shift. Although the subject of the images is largely the same, I seem to have taken a second image (Figure 17b) in order to put the object in sharp focus rather same, I seem to have taken a second image (Figure 17b) in order to put the object in sharp focus rather than my daughter’s hands, which were the subject of the camera’s focus in the first image than my daughter’s hands, which were the subject of the camera’s focus in the first image (Figure 17a). (Figure 17a).

(a)

(b) Figure 17. (a) Focus on hand; (b) Focus on stone.

Figure 17. (a) Focus on hand; (b) Focus on stone.

We had begun our walk in January 2017 at the railway platform at Dawlish Warren, an

We had begun our walk in January 2017 at the units, railway platform Dawlish Warren, assemblage assemblage of holiday camps with fixed housing caravans andatmobile homes. Froman there, we crossed the fringes of a nature reserve onto the dunes, to thehomes. concrete promenade above the the of holiday camps with fixed housing units, caravans andand mobile From there, we crossed beach. back onto within thedunes, dunes,and we had passed a complete razor above shell—without the Some razor way fringes of a Some natureway reserve the to the concrete promenade the beach. fish—which may have been collected and dropped by a person, or by a bird (Figure 18). back within the dunes, we had passed a complete razor shell—without the razor fish—which may have been collected and dropped by a person, or by a bird (Figure 18). Humanities 2017, 6, 51 18 of 29

Figure 18. Razor shell.


In the images that followed, there are images of objects being held or moved or animated by human bodies, as in the images from the first walk; but what is different is how many of the images are of objects—whether of human production or not—that are without any kind of human manipulation in the image (Figure 19a–d).


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In the images that followed, there are images of objects being held or moved or animated by In the images that followed, there are images of objects being held or moved or animated by human bodies, as in the images from the first walk; but what is different is how many of the images are human bodies, as in the images from the first walk; but what is different is how many of the images of objects—whether of human production or not—that are without any kind of human manipulation are of objects—whether of human production or not—that are without any kind of human in the image (Figure 19a–d). manipulation in the image (Figure 19a–d).

(a)

(b)

(c)

(d)

Figure 19. (a) Damaged steps; (b) Broken map; (c) Clinker; (d) Crazy golf course.

Figure 19. (a) Damaged steps; (b) Broken map; (c) Clinker; (d) Crazy golf course. Humanities 2017, 6, 51

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Our presence is far less felt, than mine is in images from the first walk. The images of the objects Our presence is far less felt, than mine is in images from the first walk. The images of the objects themselves suggest their agency; the concrete of a giant and anatomically incorrect skull on a crazy themselves suggest their agency; the concrete of a giant and anatomically incorrect skull on a crazy golf course is cracking, rotting and falling away to reveal its infrastructure. A metal table is rusting golf course is cracking, rotting and falling away to reveal its infrastructure. A metal table is rusting into pieces (Figure 20a). into pieces (Figure 20a).

(a)

(b) Figure 20. (a) Rusting table; (b) Shredded flag.

Figure 20. (a) Rusting table; (b) Shredded flag.

A wind torn Union Jack (Figure 20b) flaps above the Red Rock Cafe; a piece of which has broken off and is caught in a patch of prickly teazles between the footpath and the railway track where it vibrates in the breeze, shaking in the draught of a passing train. Its colours are slightly faded and the proportions of colouring are suggestive of a French tricolour, or of commercial packaging. The flapping shreds of the flag flying above us may be more coherent and recognisable, but the effect is


(a)

(b)

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Figure 20. (a) Rusting table; (b) Shredded flag.

A A wind wind torn torn Union Union Jack Jack (Figure (Figure 20b) 20b) flaps flaps above above the the Red Red Rock Rock Cafe; Cafe; aa piece piece of of which which has has broken broken off and is caught in a patch of prickly teazles between the footpath and the railway track off and is caught in a patch of prickly teazles between the footpath and the railway track where where it it vibrates vibrates in in the the breeze, breeze, shaking shaking in in the the draught draught of of aa passing passing train. train. Its Its colours colours are are slightly slightly faded faded and and the the proportions areare suggestive of a of French tricolour, or of commercial packaging. The flapping proportionsofofcolouring colouring suggestive a French tricolour, or of commercial packaging. The shreds of the flag flying above us may be more coherent and recognisable, but the effect is abject. flapping shreds of the flag flying above us may be more coherent and recognisable, but more the effect is We had kept our distance, and were kept at a distance; by fences and the tall flag pole. The images more abject. We had kept our distance, and were kept at a distance; by fences and the tall flag pole. record a recent past,ayet it is not sense agencysense in theofimages, feels as though The images record recent past,that, yet but it isthe notgreater that, but theof greater agencythat in the images, that it requires the present rather the past tense. feels as though it requires thethan present rather than the past tense. However, However, II will will switch switch tenses tenses now; now; to to avoid avoid making making too too brash brash aa distinction distinction between between the the two two sets sets of images and the two walks. Just as the ‘grounds’ of the two walks felt similar, so their intensity of images and the two walks. Just as the ‘grounds’ of the two walks felt similar, so their intensity and and agency agency are are not not at at opposite opposite extremes, extremes, but but are are variations variationsalong alongaacontinuum continuumof ofsimilarity. similarity. At the top of a door at the back of the Red Rock Cafe, the perishing of black paint (revealing a greena At the top of a door at the back of the Red Rock Cafe, the perishing of black paint (revealing undercoat), presumably as a result of the desiccation of materials by sunlight (Figure 21), waswas as green undercoat), presumably as a result of the desiccation of materials by sunlight (Figure 21), pronounced as the human scoring of aofheart shape; thethe twotwo agencies were literally entangled. as pronounced as the human scoring a heart shape; agencies were literally entangled.

Figure 21. Perished paint. Figure 21. Perished paint.

We climbed on to the ‘Red Rock’ (Langstone Point) beside the cafe; it has no fences, just sheer drops. Even in the centre of its grassy interior, well back from the edges, we felt the vertiginous pull of the drop. While I had previously tended to think of Langstone Rock as a part of the general cliff landscape of this part of the coast, standing at the centre of the top of it, for the first time, that day, it had felt like an independent object; as if I felt the capacity of it as a real object—from the point of view of Graham Harman’s articulation of ‘Object-Oriented Ontology’—to differ discretely from other objects without vanishing thereby into a miasma of descriptive sub-strata. Instead, this affect was more like the “indirect access” that Harman describes as working by “gravitational effects on the internal content of knowledge” (Harman 2012, p. 17). Looking at the images with the hindsight of a few months, it strikes me that we had been gazing down on the piece of rail track (Figure 22) that had been washed away by giant waves during the storm of 2014. I struggled to safely get back down the steep and muddy path from the top of the Point. Water erosion had washed away two of the wooden steps and it was with difficulty that I levered myself against the damp red walls of the incline and down the gap. I was at the edge of what I was physically capable of.

objects without vanishing thereby into a miasma of descriptive sub-strata. Instead, this affect was more like the “indirect access” that Harman describes as working by “gravitational effects on the internal content of knowledge” (Harman 2012, p. 17). Looking at the images with the hindsight of a few months, it strikes me that we had been gazing down on2017, the 6,piece Humanities 51 of rail track (Figure 22) that had been washed away by giant waves during 20 ofthe 28 storm of 2014.

Figure 22. Top of Langstone Point, rail track below. Figure 22. Top of Langstone Point, rail track below.

I struggled to safely get back down the steep and muddy path from the top of the Point. Water Thehad mud on my away hand two (Figure 23)wooden was an unintended distinctly the erosion washed of the steps and itcollection was with (contrasting difficulty that I leveredwith myself control I had had over the dry red soil—cupping and crushing—in my hand in images from the against the damp red walls of the incline and down the gap. I was at the edge of what I was physically first walk). capable of. As I struggled to hold onto the side of the muddy cleft, to prevent myself from falling disastrously, configuration of the and the absence of hand holds The mudthe onstrange my hand (Figure 23) was an gulch-like unintendedclimb collection (contrasting distinctly withwas the stretching the materials of my body which complained in the joints in my hips and shoulders. control I had had over the dry red soil—cupping and crushing—in my hand in images from the first Humanities 2017, 6, 51 21 of 29 walk). As I struggled to hold onto the side of the muddy cleft, to prevent myself from falling disastrously, the strange configuration of the gulch-like climb and the absence of hand holds was stretching the materials of my body which complained in the joints in my hips and shoulders.

Figure 23. 23. Mud Langstone Point. Point. Figure Mud from from Langstone

There was a kind of co-operation, evident now in the images. Perhaps triggered by a greater There wasagency a kindofofthe co-operation, now Iin the images.carrying Perhapsa triggered by aofgreater respect for the giant object evident of the Point. am pictured charred piece wood respect for the agency of the giant object of the Point. I am pictured carrying a charred piece of wood with protruding rusty screws (Figure 24a), then placing it in the sea, to make shapes with and in the foam (Figure 24b).

Figure 23. Mud from Langstone Point. Humanities 2017, 6, 51

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There was a kind of co-operation, evident now in the images. Perhaps triggered by a greater respect for the agency of the giant object of the Point. I am pictured carrying a charred piece of wood with protruding protruding rusty rusty screws screws (Figure (Figure 24a), 24a), then then placing placing it it in in the the sea, sea, to to make make shapes shapes with with and and in in the the with foam (Figure 24b). foam (Figure 24b).

(a)

(b)

Figure 24. (a) Charred wood; (b) Charred wood in waves. Figure 24. (a) Charred wood; (b) Charred wood in waves.

The images suggest that we were increasingly interpreting things. The images suggest that we were increasingly interpreting things. In one photograph, Rachel is ‘modelling’ the basic geology of the area, carrying the two primary In one photograph, Rachel is ‘modelling’ the basic geology of the area, carrying the two primary local rocks—Permian Red Sandstone and Devonian Limestone—one in each hand (Figure 25). Then, local rocks—Permian Red Sandstone and Devonian Limestone—one in each hand (Figure 25). from what at first seemed like a rock we found strengthening strands of plastic extruding where the Then, from what at first seemed like a rock we found strengthening strands of plastic extruding composite had been eroded by the sea (Figure 26a,b). where the composite had been eroded by the sea (Figure 26a,b). This was an inversion of the phenomenon we had found back in the car park near the nature reserve at the start of our walk. What appeared to be a filter from a motor had tiny ‘blooms’ of fungi growing on it (Figure 26c); organic life from commercial product. The images, at this point, then lose any real suggestion of their objects’ agency as we seem to be less interested in the materiality of what is around us than in what meanings we can construct by manipulating the objects or displaying them in particular ways to ourselves.


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Figure 25. Red sandstone, limestone. Figure 25. Red sandstone, limestone.


22 of 28 Figure 25. Red sandstone, limestone.

(a)

(b)


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This was an inversion of the phenomenon we had found back in the car park near the nature reserve at the start of our walk. What appeared to(c)be a filter from a motor had tiny ‘blooms’ of fungi growing on it (Figure 26c); organic life from commercial product. Figure 26. (a) Plastic strands from composite; (b) Plastic strand; (c) Funghi on filter. The Figure images, at (a) thisPlastic point,strands then lose anycomposite; real suggestion of their objects’ agency on as we seem to be 26. from (b) Plastic strand; (c) Funghi filter. less interested in the materiality of what is around us than in what meanings we can construct by manipulating the objects or displaying them in particular ways to ourselves. On the wewe found a series splashesthat that I was keen to narrate as jellyfish Onsea the wall sea wall found a seriesofofyellow yellow paint paint splashes I was keen to narrate as jellyfish shaped. AfterAfter which we walked withwith a greenish stonestone picked up not Langstone Point; without shaped. which we walked a greenish picked up far notfrom far from Langstone Point; picking up any new up objects we walked about a mile. This greenish stone was eventually exchanged without picking any new objects we walked about a mile. This greenish stone was eventually for having a new object; having carriedit along the sea repaired wall, andinto wellthe intoseaside the seaside for a exchanged new object; carriedit along the repaired wall,sea and well town of town of Dawlish, Rachel placed it on a splash of green paint on the pavement and picked up a dry Dawlish, Rachel placed it on a splash of green paint on the pavement and picked up a dry brown brown oak leaf (Figure 27a).immediately Almost immediately we found an ornately carved representation oak oak leaf (Figure 27a). Almost we found an ornately carved representation of of oak leaves leaves (Figure 27b) in the frontage of a house, perpetuating the narrative of objects’ meanings realised (Figure 27b) in the frontage of a house, perpetuating the narrative of objects’ meanings realised in in juxtapositions rather than by their discrete agencies.

juxtapositions rather than by their discrete agencies.

(a)

(b)

Figure 27. (a) Oak leaf; (b) Carved representations of oak leaves.


We wandered through an intense blizzard of symbolic objects in the town. The way that the everyday sat side by side with the uncanny and the morbid, defusing each other, seems symptomatic of a barely visually-literate grasping for ill-considered and unvalued meanings and effects (Figure 28a–f).


(a)

(b)

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We wandered in the We wandered through through an an intense intense blizzard blizzard of of symbolic symbolic objects objects in the town. town. The The way way that that the the everyday sat side by side with the uncanny and the morbid, defusing each other, seems symptomatic of everyday sat side by side with the uncanny and the morbid, defusing each other, seems symptomatic a barely visually-literate grasping (Figure 28a–f). 28a–f). of a barely visually-literate graspingfor forill-considered ill-consideredand andunvalued unvaluedmeanings meanings and and effects effects (Figure


(a)

(b)

(c)

(d)

(e)

（f）

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Figure 28. (a) Nuclear bomber mementos; (b) Gothic ornaments; (c) Witch image; (d) Halloween Figure 28. (a) Nuclear bomber mementos; (b) Gothic ornaments; (c) Witch image; (d) Halloween costumes; (e) House name; (f) Christmas tree. costumes; (e) House name; (f) Christmas tree.

Re-orienting ourselves to our new disorientation—how we had been making meanings from Re-orienting to our disorientation—how we now had challenged been making from juxtapositions wasourselves now unmade fornew us by juxtapositions—which ourmeanings easily slipping juxtapositions was now unmade for us by juxtapositions—which now challenged our easily slipping into a complacent interpretation of things, prepared us for a back street where we found these into a complacent of things, prepared for avolatile back street whereare wemaybe found better these discontinuities hadinterpretation been concentrated; indicative thatussuch meanings discontinuities been rather concentrated; indicativeasthat suchinvolatile meanings maybe better understood as had energies than anomalies, active themselves ratherare any absence or incompetence on the part of human ordering. In an abandoned hardware store (Figure 29), the neglect and loss of human order, the subtraction of usual agencies, had heightened the display of some commodities (Figure 30a,b).


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understood as energies rather than anomalies, as active in themselves rather any absence or incompetence on the part of human ordering. In an abandoned hardware store (Figure 29), the neglect and loss of human order, the subtraction of usual agencies, had heightened the display of some commodities (Figure 30a,b).

Humanities 2017, 6, 51 Humanities 2017, 6, 51

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Figure 29. Abandoned hardware store. Figure 29. Abandoned hardware store. Figure 29. Abandoned hardware store.

(a) (a)

Figure 30. (a) Lollipop makers; (b) White glove. Figure 30. (a) Lollipop makers; (b) White glove. Figure 30. (a) Lollipop makers; (b) White glove.

(b) (b)

But there was discrete agency too. Through one window we could make out what remained of But there wasletters discrete agency too. The Through one window we could make out what had remained of a display of house and numbers. desiccation of one of the pieces of packaging released But there was discrete agency too. Through one window we could make out what remained of aa display letters numbers. Thesill desiccation letter B of to house fall and settleand on the window below. of one of the pieces of packaging had released a display of house letters and numbers. The desiccation of one of the pieces of packaging had released a letter B to fall and settle the window sill but below. I am familiar with theon town of Dawlish, walking around the outside of the former hardware a letter B to fall and settle on the window sill below. am familiar with the town of Dawlish, butwere walking aroundI found the outside theatformer storeIbuilding, to the window where the letters displayed, that I of was the endhardware of a lane Ibuilding, am familiar with the town of Dawlish, butwere walking around the outside of the former hardware store to the window where the letters displayed, I found that I was at the end of a lane I did not recognise, with a Spiritualist Church, a house called PIXIES CORNER, a waist-high gate to building, to thewith window where theChurch, letters were displayed, I foundCORNER, that I was aatwaist-high the end of agate lanetoI Istore did not recognise, a Spiritualist a house called PIXIES a three metre sheer drop into a courtyard, and at the other end a White Hart pub. Here, the traditional notmetre recognise, with ainto Spiritualist Church,at a the house called PIXIES CORNER, a waist-high gate to adid three dropwhite a stag courtyard, other end a White Here, the traditional symbol of thesheer chained with aand golden crown for its collarHart (thepub. badge of the fourteenth a three metre sheer drop into a courtyard, and at the other end a White Hart pub. Here, the traditional symbol the chained stagII)with golden crown collar badge of the (or fourteenth century of monarch, Kingwhite Richard wasa juxtaposed withfora its model of(the a chained white cream) symbol ofmonarch, the chained white stag with a golden crown for its collar (theof badge of the fourteenth century century King Richard II) was juxtaposed with a model a chained white (or cream) Labrador dog seated inside the pub (Figure 31). Labrador seated to inside the pub It wasdog tempting go inside and(Figure ask for31). some explanation as to why a model of a dog (or was it It was tempting to go inside and ask for some explanation as to why a model of a dog (or it a taxidermist’s mounting of a real dog’s skin?) should be displayed; perhaps significantly, we was chose anot taxidermist’s mounting of a realof dog’s skin?) to should beus. displayed; perhaps significantly, we chose to, but allowed the mirroring the chains satisfy not to, but allowed the mirroring of the chains to satisfy us.


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monarch, King Richard II) was juxtaposed with a model of a chained white (or cream) Labrador dog seated inside the pub (Figure 31). Humanities 2017, 6, 51

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Figure 31. Pub. Figure 31. Pub.

Despite the excitement of the abandoned hardware store, of which I took 20 photographs, far was tempting to go inside forjuxtaposition some explanation as to why a modeltoofour a dog (or When, was it moreItthan at any other point on and our ask walk, had quickly returned walk. arepeating taxidermist’s mounting realsolo dog’s skin?) be displayed; perhaps we on chose the rough shapeofofamy walk fourshould years earlier, we looped back significantly, to end our walk the not to, but allowed the mirroring of the chains to satisfy us. beach—via a plethora of odd symbols and objects (a poster for a comedy called ‘Waiting For Gateau’, Despite excitement the abandoned hardware store, of which I took pollution 20 photographs, far more a cage full ofthe plastic ducks,of a sign warning bathers of episodic agricultural of the sea from than at anythat other point on ourthe walk, juxtaposition had recent quicklyflooding, returnedato ourwith walk.porthole When, repeating the stream runs through town, sandbags from hotel windows the shape of my solo walk four years earlier, back to end our walk onStation the beach—via andrough a serious display (Figure 32) about The Battlewe oflooped Little Bighorn at Geronimo’s Diner— a“the plethora of odd symbols and objects (a poster for a comedy called ‘Waiting For Gateau’, a cage full of stealing of the black hills and sacred lands”)— plastic ducks, a sign warning bathers of episodic agricultural pollution of the sea from the stream that runs through the town, sandbags from recent flooding, a hotel with porthole windows and a serious display (Figure 32) about The Battle of Little Bighorn at Geronimo’s Station Diner—“the stealing of the black hills and sacred lands”)—and there we found what seemed like a curious piece of woody seaweed (Figure 33). Possibly the holdfast for kelp, or it may have been some kind of seed, possibly of a Raphia Palm tree, or of a Cabbage Palm, or maybe a ‘nymphaea rhizome’ from water lily, floating in on ocean currents from Africa or Central America, or from some local garden. It was not unlike the rear part of the nymph phase of a May-fly. Here was a traveller, almost certainly; a commodity of the colonial and post-colonial trade in plants, perhaps, a hitch-hiker of global oceanic systems, probably, a roamer around identities, for sure. From the main body of the seed or abdomen were protruding (or which was pushing out from itself) strands similar to the reinforcing plastic strands we had found earlier and further northwards up the coast. The inversion was inverted, and we had reinforced our interpretative strategy of doubleness, even while engaging with (breaking apart to examine) a discrete (and probably) plant organism.

more than at any other point on our walk, juxtaposition had quickly returned to our walk. When, repeating the rough shape of my solo walk four years earlier, we looped back to end our walk on the beach—via a plethora of odd symbols and objects (a poster for a comedy called ‘Waiting For Gateau’, a cage full of plastic ducks, a sign warning bathers of episodic agricultural pollution of the sea from the stream that runs through the town, sandbags from recent flooding, a hotel with porthole windows Humanities 6, 51display (Figure 32) about The Battle of Little Bighorn at Geronimo’s Station Diner— 26 of 28 and a 2017, serious “the stealing of the black hills and sacred lands”)—


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and there we found what seemed like a curious piece of woody seaweed (Figure 33). Possibly the holdfast for kelp, or it may have been some kind of seed, possibly of a Raphia Palm tree, or of a Cabbage Palm, or maybe a ‘nymphaea rhizome’ from water lily, floating in on ocean currents from Africa or Central America, or from some local garden. It was not unlike the rear part of the nymph phase of a May-fly. Here was a traveller, almost certainly; a commodity of the colonial and postcolonial trade in plants, perhaps, a hitch-hiker of global oceanic systems, probably, a roamer around identities, for sure. From the main body of the seed or abdomen were protruding (or which was pushing out from itself) strands similar to the reinforcing plastic strands we had found earlier and further northwards up the coast. The inversion was inverted, and we had reinforced our interpretative strategy of doubleness, even while engaging with (breaking apart to examine) a discrete (and probably) plant organism. Our walk had been complicated by symbolism and interpretation, but the photographs suggest a different level of engagement to that of my first walk; more respectful to the materials and less inclined immediately to narrate juxtaposition or to find meanings in combinations (although this reasserted itself for much of the second half of our walk); instead, at least during the first part, we Figuremore 32. Display of café. deferred our own agency and allowed space in forwindow the things themselves to perform their coming Figure 32. Display in window of café. to be.

Figure 33. Enigmatic traveller.

Figure 33. Enigmatic traveller.

This deferral may account for the insights that were afforded, later, about the dynamic between materials, symbols, revealingly uncomfortable and unresolved, work in the town Our walknarratives had beenand complicated by symbolism and interpretation, but theatphotographs suggest of Dawlish; finding that further investigation. a different levelaofraw engagement todeserves that of my first walk; more respectful to the materials and less inclined

immediately to narrate juxtaposition or to find meanings in combinations (although this reasserted 3. for Discussions itself much of the second half of our walk); instead, at least during the first part, we deferred our own agency and allowed more for the thingsdocumentation themselves to perform their coming be. Looking back, now, onspace the photographic of the two walks, onetopossible explanation for their differing account of nonhuman materialities is in their different intended outcomes. The second walk was a means for daughter and father to walk together ‘through’ the found objects. My first walk had been more complexly instrumental; as a testing of, and a possible generator for, a new ‘tactic’. In neither case was the walk an end in itself. The first walk was to be (I hoped) exemplary; an element of demonstrative performance was implicit in its intention, and is evident


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This deferral may account for the insights that were afforded, later, about the dynamic between materials, narratives and symbols, revealingly uncomfortable and unresolved, at work in the town of Dawlish; a raw finding that deserves further investigation. 3. Discussions Looking back, now, on the photographic documentation of the two walks, one possible explanation for their differing account of nonhuman materialities is in their different intended outcomes. The second walk was a means for daughter and father to walk together ‘through’ the found objects. My first walk had been more complexly instrumental; as a testing of, and a possible generator for, a new ‘tactic’. In neither case was the walk an end in itself. The first walk was to be (I hoped) exemplary; an element of demonstrative performance was implicit in its intention, and is evident from the photographic record; I was performing, not necessarily to those immediately around me—for example, I recall no self-consciousness when dancing with seaweed on the beach, or later asking a young Polish worker to take my photograph as I took the same pose as the figure on a warning sign, though ironically I obscured the sign I was mimicking—but to the imagined users of a future handbook. In the second walk, while the intent was ‘correlationist’, privileging a human relationship, the emphasis on the here and now engagement in the walk reduced the level of physical manipulation, narrative-making and symbolist juxtaposition of signs and objects. The colours of the images from that first walk are bright. Aesthetic criteria are at work. In trying to engage the agency of things, the photographs suggest that I performed with them more as if they were props in a performance than fellow agents on a shared journey. The images from the second walk, partly aided by an overcast sky, are more restrained; they have more of the sense of a catalogue of objects, with a restrained palette of colours (grey-blues and dull browns). The photos from the first walk are full of signs and frames; for the second walk, it is the discrete objects that hog the foreground of most of the images. In both cases, from halfway through the walk, our hands disappear from the documentation (with a single exception in the second walk); which, on the one hand, allows the objects to ‘stand alone’, but, on the other, makes them vulnerable to a metaphorical rather than material, corporeal juxtaposition. The ‘spectacular’ conclusion of my first walk at the water’s edge, assembling a collage of found objects on an oil painting, contrasts with the endpoint on the strandline of the second walk, where the photographs show the tangles of seaweed, plastic fishing line, fragments of unidentifiable broken plastic commodities, a sock, and other detritus from which daughter and father extract individual objects. 4. Conclusions I am mindful here, in summing up this interpretative exercise, of Peggy Phelan’s concerns about documentation’s transformational effects upon any performance: “[P]erformance’s only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance” (Phelan 1993, p.146). The photographs I have been addressing are something other than the performances of the two walks. Rather than a continuation of them, they have a shadowy materiality and reflexivity of their own, to the side of their representational function. That materiality is the continuation of the performance, however; it is the something else that perpetuates the agency of the objects with which my daughter and I engaged. It is that volatility, as often a product of the nature of my cheap camera rather than my operation of it, that has determined what remains of the walks in these images; a revenant that can itself be transformed—which has been my attempt here—into what Rebecca Schneider has called “other ways of knowing, other ways of remembering, that might be situated precisely in the ways in which performance remains, but remains differently” (Schneider 2001, p. 101). What seems to emerge here, is that the materials of the walks—both, and together, the original and discrete objects found and the images taken—resist any smuggling of coherence, either organic


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or metaphysical, back into that ‘otherness’ of knowing. That, instead, there were, necessarily and significantly, wrinkles in the theoretical discourse that accompanied the planning and imagining of the walks and the subsequent critical reviewing of them. That the tensions I have considered and described above, after the account of the first walk, between an impetus towards the discreteness of things and a synchronic multiplicity of layers, are parts of a methodological bricolage in technical and theoretical respects that might be useful to other performative ambulant-researchers. This is particularly in regard to how a shadowy materiality can persist, far from ghostliness or the spectral and closer to the marks of things’ agencies, different from but at ease with site-specificity. In the past, in both my research and performance practice, walks such as these two ‘walks with objects’ have been remembered instrumentally—as a tactic in a handbook, as a means for daughter and father to enjoy conviviality. By addressing them through the tainted observation of my own participation in their remaining documentation, I have set aside the usual “remain[ing] differently”, so that what remains is not a narrative of the two walks becoming ‘lehrstücke’ scores for other human walkers, but of their (briefly alleviated) failures as a stepping away within a presence-with-objects; a recognition of moments that did come closer to co-agency and living-with nonhumans than others. The ‘findings’ here are, by being less than previously constructed, in terms of reason and agency and dispersal, an attempt to leave—in the descriptions of the remaining traces, both represented and remembered—a series of small voids, consistent with the general principles of mythogeography, as ‘holey spaces’ (Bonta 2009, pp. 266–69) for the agency of discrete objects and humans; and consistent, also, with emerging ideas around ‘vibrancy’ and ‘material vitalism’, while hopefully sidestepping, by the unevenness of the voids’ distribution and the hyper-empirical means and site-specific orientation of their identification, any temptation to turn such spaces of this particular “other than performance” into a new meta-theory. Conflicts of Interest: The author declares no conflict of interest.

References Bayfield, Roy. 2016. Desire Paths. Axminster: Triarchy Press. Bennett, Jane. 2001. The Enchantment of Modern Life. Princeton and Oxford: Princeton University Press. Bennett, Jane. 2010. Vibrant Matter. Durham and London: Duke University Press. Bonta, Mark. 2009. The Multitude and its Doppelgänger: An Exploration of Global Smooth Space. Acme 8: 245–77. Careri, Francesco. 2002. Walkscapes: Walking as an Aesthetic Practice. Barcelona: Editorial Gustavo Gilli. Crab Man. 2012. Counter-Tourism: The Handbook. Axminster: Triarchy Press. Harman, Graham. 2012. Weird Realism: Lovecraft and Philosophy. Winchester and Washington: Zero Books. Ingold, Tim. 1993. Globes and Spheres: The Topology of Environmentalism. In Environmentalism. Edited by Kay Milton. London and New York: Routledge, pp. 31–42. Joyner, Siriol. (2013/14). Dancing on the Steps of the Senedd. Planet 212: 72–79. Meillassoux, Quentin. 2008. After Finitude. Translated by Ray Brassier. New York: Continuum. Roberta Mock, ed. 2009. Walking, Writing & Performance. Bristol: Intellect. Nancy, Jean-Luc. 2009. The Fall of Sleep. New York: Fordham University Press. Oak, Cecile. 2017. Anywhere: A Mythogeography of South Devon and How to Walk It. Axminster: Triarchy. Persighetti, Simon, and Phil Smith. 2012. A Sardine Street Box of Tricks. Axminster: Triarchy Press. Phelan, Peggy. 1993. Unmarked: the politics of performance. London and New York: Routledge. Schneider, Rebecca. 2001. Performance Remains. Performance Research 6: 100–8. [CrossRef] Smith, Phil. 2006. A Taxonomy on Its Toes. Performance Research 11: 33–39. [CrossRef] Smith, Phil. 2010. Mythogeography: A Guide to Walking Sideways. Axminster: Triarchy Press. © 2017 by the author. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).

Two Walks with Objects - MDPI

Two Walks with Objects - MDPI

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