Non-Representational Theory and the Creative Arts

“Weaving together tales by scholars and practitioners, Non-Representational Teory and Creative Arts is an important and timely contribution to the ongo- ing dialogue between cultural geography and creative art practice. Ambitious in scope, varied in style and innovative in format, the collection takes the reader on a compelling journey through stitches and studios, trees and art installations, water streams and ruins, geothermal vapours and musical tunes. It pushes for new tropes and vocabularies to talk about familiar and unfamiliar atmospheres, places, gestures, and all that stirs and eludes the human senses and imagination.” —Veronica Della Dora, Royal Holloway, University of London

“Over the past ffteen years, non-representational theories have become central to the social sciences and humanities, inaugurating new ways of conceptualis- ing and approaching the world. Featuring a multidisciplinary range of contrib- utors who have been at the forefront of non-representational styles of thought and research, Non-Representational Teory and the Creative Arts is unique for its sustained and experimental engagement with the practices, styles and tech- niques of research that non-representational theories invite and ofer. As such, it will become an invaluable resource for researchers hoping to learn new ways of encountering and presenting the world.” —Ben Anderson, Durham University, UK

“How might we envision a geography in the making, in the moving? With thought-provoking contributions that activate the afective force of the geo- logic, Non-Representational Teory and the Creative Arts explores the thresholds that move geography beyond representation toward its creative force. Entering the space of encounter, this book tests the limits of writing in a feld that has always explored what lurks at the interstice of line and fold.” —Erin Manning, Concordia University, Montréal Candice P. Boyd · Christian Edwardes Editors Non-Representational Theory and the Creative Arts Editors Candice P. Boyd Christian Edwardes School of Geography Arts University Bournemouth University of Melbourne Poole, UK Parkville, VIC, Australia

ISBN 978-981-13-5748-0 ISBN 978-981-13-5749-7 (eBook) https://doi.org/10.1007/978-981-13-5749-7

Library of Congress Control Number: 2018968354

© Te Editor(s) (if applicable) and Te Author(s) 2019 Tis work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Te use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. Te publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Te publisher remains neutral with regard to jurisdictional claims in published maps and institutional afliations.

Cover image: © Christian Edwardes

Tis Palgrave Macmillan imprint is published by the registered company Springer Nature Singapore Pte Ltd. Te registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore 189721, Singapore Dedicated to Buster and Haru, our four-legged friends and companions on the journey who both departed before its end Foreword: Non-Representational Dreams

Over the last few years, it has become almost commonplace to argue that human thinking does not conform to a picture/sentence model. Tis was a model in which people proceed by conjuring up a conveyor belt of representations, each of them seemingly as forensically detailed as a case being put forward in a court of law. Tey then put these tem- plates into operation as carefully considered actions. In the new model, human thinking is action-oriented—scrappy, deeply embodied, heavily infuenced by afective radiations, surfng on the cusp of activity, very often nonconscious and not necessarily centred on language. It slides. It is often loose, a yarn made up of partings as well as presences. To the extent that it proceeds according to a picture/sentence model, this is because of, frst, ‘cognitive gadgets’ (Heyes, 2018), routines constructed through social interaction which very often depend on the presence of various stabilising technologies—tools like writing, print, painting, video, music, recording—which aid in the installation and reinforce- ment of these gadgets, and, second, atmospheres which normalise ways of living by embedding theses routines in places.

vii viii Foreword: Non-Representational Dreams

Knowing all this may be important intellectually in that it provides a diferent sketch of what it is to be human and just how malleable and improvisational human is and can be. But what practical diference does it make? In a sense, that is the import of this book. We are not what we thought we are. We need new patchwork models of being human that understand the to and fro of ‘dividuality’ and the way that experience fits by, only momentarily joining up before it moves on, a task that can only become more urgent as the human species reaches over 7.4 billion. Tink of all that thinking. We need models that understand that much of that think- ing is nonconscious and does not require explicit representation. And we need models that understand how that thinking ebbs and fows, travelling through many bodies at once. Te purveyors and engineers of modern information technologies have both understood this—not least because they have used this knowledge as an instrument to scale up their infu- ence in a world characterised by the scale made possible by platforms and corresponding super-profts—and misunderstood it in that their position is too often parasitic rather than symbiotic. (But remember, if fear, loath- ing and paranoia are contagious, so too are kindness and courage). It is no surprise then that the creative arts have taken up the chal- lenge of conjuring up this nonconscious world in diferent, less instru- mental ways by inventing the performative equivalents of brighter similes and metaphors which have the grip to change how we stand up to and alongside the world because so much of their work tracks the interface between showing and experiencing, between sensing and understanding, between enduring and living in the moment in a kind of joyful questing/questioning. Te creative arts, one might say, attempt to explore simultaneously the metaphysics of how nonconscious think- ing is possible, the semantics of nonconscious thought, the epistemol- ogy of how it is possible to identify and represent this kind of thinking, and a variety of explanations of its inferential dimensions (Bermudez, 2003). Tey understand that nonconscious thought is not a minimalist version of cognitive thought and does not occupy some parallel realm. Rather, as Hayles (2017) would have it, there is a ‘cognitive noncon- scious’ at work which has a diferent but often complementary mode of awareness with its own cognitive dimensions. Foreword: Non-Representational Dreams ix

Tis impulse towards new means of working with this domain of thinking has been set out and annealed in various ways. I will mention just four of them. One is that the creative arts increasingly involve a mixed palette of means in order to work out ends. In part this is because the advance of technology allows performers to work in several registers more easily—sound, sight, the specifcs of bodily position, even smell all at once—gliding from one to another in ways which were much more difcult in the past (though by no means impossible, as the his- tory of opera, ballet and masque show only too well). At the same time, these advances make it possible to broaden out existing traditions and registers and afects in order to galvanise entirely new efects, as this book shows. Second, the creative arts have changed as a result—though perhaps not always as much as might be thought. Timeframes have changed, replacing the end of times depicted by numerous painters with contem- porary concerns that the Anthropocene might turn into an end game complete with its own monsters and ghosts (Tsing, Swanson, Gan, & Bubandt, 2017). Te means of treating time and space has changed too. For example, the still frame has been joined by a cinematically infected succession of moments and the map by instant georeferencing and the vastly expanded archive of overhead images. More materials can be used, tied together by the way that they resonate with each other. It has become possible to spend more energy on capturing the moment in the style of classical Chinese painting. And, correspondingly, attention to rhythm and dissonance has expanded. But, most importantly of all, the creative arts have become increasingly democratised as technology has allowed all kinds of people to reach out who could not have occupied cultural bandwidth before. Standard criticism tends to concentrate on creative artists within a framework of valuation set out by accompany- ing art institutions—to the exclusion of all of the people making art without requiring their imprimatur, the result being a kind of jaded- ness, even cynicism (Steyerl, 2017). But I don’t entirely buy this stance, not least because so many unsung people are now making art who have little or no interest in pecuniary reward or slotting into the game of cul- tural hierarchies. x Foreword: Non-Representational Dreams

Tird, it has meant redefning aesthetic discipline. After all, practising the creative arts requires learning codes and signs and how to embody them, if only to challenge their ways of going on—just ask any dancer about the disciplines they have had to master in order to fex dance in new ways. But stretching as this aesthetic discipline may be, it is not akin to other kinds of discipline. So it is not a command from on high but a negotiation. It is not trying to institute a theory of universal construction but rather a singularity. And, relatedly, it is not about forging any kind of absolute subjectivity (as if the confusion of subjectivities could be for- mulated absolutely clearly). Tat great contrarian, Sloterdijk (2018), has written most efectively about these eforts in his work on discipline as a set of exercises that allow people the leeway to change their life. In these days when we are seemingly ruled by the disciplines of ‘the market’—a fever leading us into disaster as we run out of even the most basic of mate- rials like sand and water, that are our basic means of reproduction, and eat away at the lives of countless other beings as if we had the freedom to consume without limit—lighting out for territories with greater degrees of freedom is not without its difculties. But it can be done, as the many experiments in the creative arts documented in this book have shown. Finally, the creative arts constitute a new way of doing politics and the so-called para-political. If there has been a determinedly instru- mental application of non-representational theory, it has been in mod- ern retail politics which injects itself into the fow of afect in order to produce swarms of partisan activity. T’was always thus, it has been said. But it hasn’t. Being able to inject thoughts into the process of thought via continuous tailoring of messages to each and every individual’s cir- cumstance is now a mass production industry which brings new mean- ing to the word compulsion. Tis is an insidious kind of discipline that masquerades as a masquerade. To turn of the spigot and replace it with something diferent and more open requires a myriad of artistic skills in order to run ahead of the running head that now seems to preface every activity in both the consumer and political sphere (the point being that they have bled into each other). Again, this book provides the beginnings of indications about to how to cope with the infestations of hatred and rage that have too often become a force in their own right and willing fodder for the unscrupulous. Foreword: Non-Representational Dreams xi

In other words, so far as the creative arts are concerned, non- representational theory is one part of an efort to reinstate an ability to nurture the art of living well by extending what is thought of as art. In the end, that requires injecting new means of attunement into the spaces in which people live their lives. It is no exaggeration to say that without a meeting between creative arts and geography, brokered by apprecia- tion of nonconscious cognition, this would not just be an arid exercise but an unthinkable one. As it is, we are starting to redefne what might be possible and so beginning to perform worlds that previously were out of bounds, both literally and metaphorically.

Oxford, England Nigel Trift

References

Bermudez, J. L. (2003). Tinking without words. Oxford, UK: Oxford University Press. Hayles, K. (2017). Unthought: Te power of the cognitive nonconscious. Chicago, IL: Chicago University Press. Heyes, C. (2018). Cognitive gadgets: Te cultural evolution of thinking. Cambridge, MA: Belknap/Harvard University Press. Sloterdijk, P. (2018). Te aesthetic imperative. Cambridge, MA: Polity. Steyerl, H. (2017). Duty free art: Art in the age of planetary civil war. London, UK: Verso. Tsing, A., Swanson, H., Gan, E., & Bubandt, N. (2017). Arts of living on a damaged planet. Minneapolis: University of Minnesota Press.

Nigel Trift is a Visiting Professor at Oxford and Tsinghua Universities and an Emeritus Professor at the University of Bristol. He was formerly Vice-Chancellor of the University of Warwick and Executive Director of Schwarzman Scholars. Acknowledgements

Before anything else, I gratefully acknowledge Christian Edwardes— co-editor, colleague, and friend—for his commitment, vision, dedica- tion, diligence, and optimism. It has been such a pleasure! I would also like to express my thanks to all of our contributors for sticking with us through what ended up being a longer than anticipated journey to com- pletion. I am glad that this book found a home at Palgrave Macmillan. Having previously published with them, I have only ever found them to be attentive, responsive, and generous with their time; thanks, in particular, to Joshua Pitt, Sophie Li, Senthil Kumaravel, and Meera Mithran. To Nicholas and Graylan, my beautiful family—my gratitude for putting up with all of this with grace and warmth, and a smattering of judicious critique! To a General Assembly of Interested Parties, my thanks for challenging and provocative opportunities for artistic expression and personal discovery; and to all my fellow cultural geographers, artists, and thinkers—thank you for your inspiring lives.

Candice P. Boyd

xiii xiv Acknowledgements

I would like to acknowledge the unwavering support and friendship of Candice P. Boyd, whose guidance, positivity, commitment, and under- standing has made the experience of co-editing this volume a continual joy. I would also like echo and extend my thanks to all our contribu- tors for their patience and perseverance during the occasionally tortuous path that has taken us to publication. To Anne, my wife and collaborator, I am eternally indebted to the understanding, encouragement, involvement, and afection that you have given me throughout this, and many previous ventures!

Christian Edwardes Contents

1 Creative Practice and the Non-Representational 1 Candice P. Boyd and Christian Edwardes

Part I Situated Practices in Art, Craft and Design

2 Geo/Graphic Design 19 Alison Barnes

3 Geologic Landscape: A Performance and a Wrecked Mobile Phone 33 Veronica Vickery

4 Micro-Geographies of the Studio 53 Christian Edwardes

5 Making, Knowing and Being Made: Hand-Stitching Beyond Representation 69 Emma Sherclif

xv xvi Contents

6 Queerly Feeling Art in Public: Te Gay Liberation Mo(nu)ment 85 Martin Zebracki

Part II Artistic Engagements with Geography

7 Afecting Objects: Te Minor Gesture Within a Performative, Artistic Research Enquiry 103 Sarah Bennett

8 Circadian Rhythms, Sunsets, and Non-Representational Practices of Time-Lapse Photography 117 Kaya Barry

9 “Call Tat Art? I Call It Bad Eyesight”: Seeing or Not Seeing in the Context of Responsive Art Practice 133 Annie Lovejoy

10 Forward Back Together, and the Materialities of Taking Part 153 Simon Pope

11 Where Does ‘Your’ Space End and the Next Begin? Non-Representational Geographies of Improvised Performance 169 Candice P. Boyd with Yan Yang, Juana Beltrán, Clinton Green, Jordan White, Carmen Chan Schoenborn, Elnaz Sheshgelani, Chun-liang Liu, Michael McNab and Ren Walters (as a General Assembly of Interested Parties) Contents xvii

Part III Geographers Exploring Artistic Practice

12 Making Teatre Tat Matters: Troubling Subtext, Motive and Intuition 183 Ruth Raynor

13 Creativity, Labour and Captain Cook’s Cottage: From Great Ayton to Fitzroy Gardens 195 Tim Edensor

14 Material Conditions in the Post-Human City 211 Andrew Gorman-Murray

15 Attuning to the Geothermal Urban: Kinetics, Cinematics, and Digital Elementality 227 Matthew Shepherd

16 Tresholds of Representation: Physical Disability in Dance and Perceptions of the Moving Body 243 Michelle Dufy, Paul Atkinson and Nichola Wood

17 Interlude: Supervising 263 Harriet Hawkins and Rachel Hughes

Part IV Sound, Music, and Creative Mobilities

18 Audio Recording as Performance 277 Michael Gallagher

19 Psy(co)motion: Anti-production and Détournement in Afective Musical Cartographies 293 Tina Richardson

20 Walk with Me 311 Jefrey Hannam and Lawrence Harvey xviii Contents

21 Imaginal Travel: An Expedition in Fine Art Practice in Search of the Loneliest Palm 325 Gayle Chong Kwan

22 Fragments (Formerly Tales from the Asylum) 337 Tomas Jellis and Joe Gerlach

23 On Edge: Writing Non-Representational Journeys 351 David Bissell

Afterword: Sensing the World Anew 359

Index 363 Notes on Contributors

Paul Atkinson teaches within the Academic and Professional Writing program at Monash University, Australia. His work primarily focuses on the relationship between time, movement and visuality, and he has pub- lished widely on a range of media, from cinema and animation to dance and comic books. Alison Barnes is a Senior Lecturer and Researcher at London College of Communication, University of the Arts London. Her practice-led research draws from both graphic design and cultural geography and centres on the understanding and representation of everyday life and place. Kaya Barry is an artist and geographer, and Postdoctoral Research Fellow at the Grifth Centre for Social and Cultural Research, Grifth University, Australia. Her creative research investigates the intersections of mobility, migration, creativity, and materiality. Juana Beltrán is a multidisciplinary artist. Her artistic vision incorpo- rates multimedia projects, installations, sounds, movements … span- ning diferent disciplines and collaborative works. Her current works are centred around an investigation into the condition and nature of xix xx Notes on Contributors impermanence and its artistic refection. Juana’s work has been pre- sented in Malaysia, Spain, and Australia. Sarah Bennett is Head of the School of Art and Architecture at Kingston University, London. Her artistic research critiques the his- torical and contemporary contexts of psychiatric provision through archives, embodied actions, and digital recording methods to produce artworks that both reveal and attest to the systems embedded in such institutional sites. David Bissell is an Associate Professor and Australian Research Council Future Fellow in the School of Geography at the University of Melbourne. His research explores the social, political, and ethical conse- quences of mobile lives. He is author of Transit Life: How Commuting Is Transforming Our Cities (2018). Candice P. Boyd is an artist-geographer and Australian Research Council DECRA Fellow in the School of Geography, University of Melbourne with interests in geographies of mental health, therapeutic spaces, experiences of rurality, and contemporary museum geographies. She is author of Non-Representational Geographies of Terapeutic Art Making: Tinking Trough Practice (2017). Gayle Chong Kwan is an artist and a Ph.D. researcher in Fine Art at the Royal College of Art, London. Her research is focused on the inten- sities, encounters, and artefacts of travel, and how images themselves travel. Her works have been exhibited internationally, both in galleries and in the public realm. Michelle Dufy is an Associate Professor in Human Geography at the University of Newcastle, Australia. Her research explores sound, music, afect, emotion, and movement as ways to consider community, well- being, and resilience. She is co-author of Festival Encounters: Teoretical Perspectives on Festival Events and Social Cohesion. Tim Edensor is currently working on a project about stone in Melbourne. He is the author of Tourists at the Taj (1998), National Identity, Popular Culture and Everyday Life (2002), Industrial Ruins: Space, Aesthetics and Materiality (2005), From Light to Dark: Daylight, Notes on Contributors xxi

Illumination and Gloom (2017) and the editor of Geographies of Rhythm (2010). Christian Edwardes is a Senior Lecturer and Course Leader in Illustration at the Arts University Bournemouth. His recent research is focused on studio geographies and the geoaesthetics of art production, which also form a central strand of his artistic practice. Michael Gallagher is a Reader in the Faculty of Education at Manchester Metropolitan University. He has published on sonic geog- raphies, children and young people’s lives, and research methods. Much of his recent work derives from experimentation with audio and other kinds of electronic media. Joe Gerlach is a Lecturer in Human Geography at the School of Geographical Sciences, University of Bristol. His research interests span cultural and political geography, including critical cartography, mic- ropolitics, non-representational theory, and nature–society relations in Ecuador. Andrew Gorman-Murray is a Professor of Geography at Western Sydney University. His expertise includes urban transformations, house- hold dynamics, mobility, place-making, and wellbeing. Trained in pho- tomedia art practice, he aims to develop visual approaches to geographic inquiry in these areas of interest. He is co-editor of the journal Emotion, Space and Society. Clinton Green is an Australian experimental artist, performer, facilita- tor, and writer. Jefrey Hannam is a sound designer, researcher, and Associate Lecturer at the SIAL Sound studios, School of Design RMIT University. His interests are in electro-acoustic music production, spatial sound perfor- mance practices, and vision-impaired experiences of urban sound. Lawrence Harvey is a composer, sound designer and Director of SIAL Sound Studios, School of Design RMIT University. He leads a range of sound-based research projects, supervises PhD candidates, directs con- certs for the RMIT speaker orchestra and is Curatorial Adviser to the University’s Sonic Arts Collection. xxii Notes on Contributors

Harriet Hawkins works on the geographies of art works and art worlds. Alongside writing academic texts she collaborates on the pro- duction of a range of art works and exhibitions, with individual artists as well as with institutions around the world. She is currently research- ing caves and underground futures and is a Professor of GeoHumanities at Royal Holloway, University of London. Rachel Hughes is a Senior Research Fellow of the School of Geography at the University of Melbourne. Her current research exam- ines the cultural politics of reparation processes in Cambodia, and afec- tive geographies of historical and contemporary visitor experiences in Cambodian and Australian museums. Tomas Jellis is a British Academy Postdoctoral Fellow at the School of Geography and the Environment at the University of Oxford, and a Research Fellow at Keble College. He has written on geography’s rela- tions to experimentation, art, and minor theory. His current research seeks to trace a geo-history of exhaustion. Chun-liang Liu is an interdisciplinary artist who works in Taiwan and Australia. She works as a director, critic, sound artist, and mover. Her practice centres around posing questions towards the participants in theatrical/performative situations and bodily encounter. Sensorial expe- riences and interactions are often created in her works. Annie Lovejoy is an artist-writer based in Falmouth, Cornwall, UK. Michael McNab is a percussionist and interdisciplinary sound/perfor- mance artist from Melbourne. Listening with an unfxed body and open eyes, his kinetic interactions with objects, collaborators, and site form the material of his work. He is interested in states of play, human and non-human presence as impetuses for sound making, and spatiality and anti-virtuosity as ways to shake up audience–performer relationships. Simon Pope is an artist whose work is preoccupied by the socialities of more-than-human worlds. He represented Wales at the Venice Biennale of Fine Art (2003) and was a Postdoctoral Researcher in Environmental Posthumanities at Goldsmiths, University of London (2017–2018). He currently lives in Minesing, also known as Toronto Island, Canada. Notes on Contributors xxiii

Ruth Raynor is a cultural and feminist geographer and theatre-maker. Developing from work that ‘dramatised’ austerity with women in the North East of England, Ruth is currently researching mediations and practices of hope and grief in the contemporary. Tina Richardson is an academic, psychogeographer and cultural theo- rist specialising in the city, poststructural theory, subjectivity and iden- tity, ideology, anti-production, and semiology. As well as a number of published articles, she is most well known for editing Walking Inside Out: Contemporary British Psychogeography. Carmen Chan Schoenborn is a Melbourne musician and artist. Trough her project ‘Do You See What I Hear?’ (2009–), graphic com- positions and other performances, her presentations often explore the boundaries and crossovers of familiar traditions and contemporary situ- ations. Her work has been featured in Australia and internationally. Matthew Shepherd is a Doctoral Researcher at the University of Oxford. His interests span more-than-human geographies, the cinemat- ics of place, urban planning, and energy-culture nexus. He brings to his research experience gained working within the built environment sector in London, Melbourne, and Edinburgh. Emma Sherclif is a Senior Lecturer in Textiles at the Arts University Bournemouth. Her research explores textile making in social con- texts, considers the diferences between implicit and explicit forms of knowledge, and the meanings of hand-making within post-industrial digital cultures. She is the Principal Investigator on the AHRC funded Stitching Together research network. Recent publications include con- tributions to Crafting Textiles in the Digital Age and Studies in Material Tinking. Elnaz Sheshgelani is an independent artist, illustrator, performer, and graphic designer. She studied Fine Art at the University of Tehran and is a Ph.D. candidate at the Victorian College of the Arts in Melbourne, Australia. Veronica Vickery is an artist, geographer, and Honorary Research Associate at the University of Exeter. Her practice-based research xxiv Notes on Contributors interrogates the experience of alienation in the face of the often vio- lent geo-politics of landscaping processes, and the socio-politics of contemporary exclusions. Worked through immersed and often long- term sited enquiry, these interests are materialised in digitally-mediated solo performance, painting/installation, text, online projects and social interventions. Ren Walters is a performer, musician, artist, and tutor at the Victorian College of the Arts and Melbourne Conservatorium of Music at the University of Melbourne. His recent Ph.D. research reveals an ecology of being through improvisational performance process and follows on from a Master of Fine Art (Contemporary Music) titled Te Moment of Performance: Trace and Materiality in Improvisational Music Practice. Jordan White studied contemporary music at the Victorian College of the Arts in Melbourne. During this time he worked as a performer, composer, and curator of music and performance art. He then moved to Leipzig, Germany and is currently studying jazz guitar and new music at the Hochschule für Musik Franz Liszt Weimar. He continues to develop as a composer and improviser in solo, jazz, and electronic settings. Nichola Wood is a Lecturer in Critical Human Geography at the University of Leeds. Her research focusses on emotional (re)produc- tions of nation and national identity, and the emotional spaces created through musical performance, identity and experiences of wellbeing. She co-edited Subjectivities, Knowledges and Feminist Geographies: Te Subjects and Ethics of Social Research. Yan Yang is a Ph.D. candidate in clinical psychology at Swinburne University of Technology, Australia. Her interests involve process-ori- ented psychotherapies, psychological mechanisms, and knowledge of individuals with lived experience. Her recent publications are focused on bipolar disorder, the Buddhist ideas of self-compassion and nonat- tachment to self, and wellbeing. Notes on Contributors xxv

Martin Zebracki is an Associate Professor of Critical Human Geography at the University of Leeds who has published widely across the geographies of public-art practice, (queer) citizenship, digital cul- ture, and social inclusivity and exclusivity. Zebracki is currently the Principal Investigator of a research council-funded international project on Queer Memorials. List of Figures

Fig. 2.1 Alison Barnes (2010) Stuf, end pages 25 Fig. 2.2 Alison Barnes (2010) Stuf, glassine paper insert 26 Fig. 2.3 Alison Barnes (2010) Stuf, old stamps and cigarette cards 27 Fig. 2.4 Alison Barnes (2010) Stuf, old photos and slides 27 Fig. 2.5 Alison Barnes (2010) Stuf, old handwritten letters and cards 28 Fig. 3.1 Veronica Vickery (2015b) production still for Ophelia 34 Fig. 3.2 Veronica Vickery (2015b) production still for Ophelia 35 Fig. 3.3 Wrecked mobile phone 42 Fig. 4.1 Christian Edwardes (2008a) West [C-type print] 62 Fig. 4.2 Christian Edwardes (2008b) Nadir [C-type print] 64 Fig. 5.1 Emma Sherclif (2008–2010). Monologue [linen sheet and linen thread] 76 Fig. 5.2 Emma Sherclif (2007). Part of a Piece [cotton calico, thread and paper] 79 Fig. 6.1 Te Gay Liberation Monument, Christopher Park, New York (Photo credit: Author’s own) 87 Fig. 6.2 Author’s rapid site appraisal 96 Fig. 6.3 Binary representation of the Gay Liberation Monument (Author’s own) 97 Fig. 7.1 Sarah Bennett (2012) Fagotteria (digital photograph) 105

xxvii xxviii List of Figures

Fig. 7.2 Sarah Bennett (2014) Safe-Keeping (custodia) (video still) 114 Fig. 8.1 Extracts from a series of time-lapse photographs of the sun setting 121 Fig. 8.2 Still from a time-lapse series of the sunset in Iceland 123 Fig. 8.3 View of the preliminary sketches over the time-lapse on the studio wall 126 Fig. 8.4 A diagrammatic sketch of the sun setting–rising 126 Fig. 8.5 Screenshot of the video artwork in which the sketched sunset mobilities mask the time-lapse photographs 127 Fig. 9.1 Dead real 138 Fig. 9.2 Comfort 139 Fig. 9.3 New media 142 Fig. 9.4 Commonplacing 143 Fig. 9.5 Taskscape 146 Fig. 11.1 Carmen 171 Fig. 11.2 Michael and Chun-liang 172 Fig. 11.3 Juana 173 Fig. 11.4 Candice 174 Fig. 11.5 Clinton 175 Fig. 11.6 Ren, Jordan, and Elnaz 176 Fig. 11.7 Yan 178 Fig. 13.1 Cook’s Cottage, Fitzroy Gardens, Melbourne 198 Fig. 13.2 Worked stone, Cook’s Cottage 200 Fig. 13.3 Monument to Captain James Cook, Great Ayton, Yorkshire, UK 202 Fig. 13.4 Old sandstone quarry, near Great Ayton 205 Fig. 14.1 Andrew Gorman-Murray (2015) Dunlop-Slazenger (re-built inside out by origami) 219 Fig. 14.2 Andrew Gorman-Murray (2015) Dunlop-Slazenger (re-assembled by origami) 220 Fig. 14.3 Andrew Gorman-Murray (2015) Callan Park (re-assembled, for Material Conditions in the Post-Human City ) 220 Fig. 14.4 Andrew Gorman-Murray (2015) Material Conditions in the Post-Human City (documentation, front view) 222 Fig. 14.5 Andrew Gorman-Murray (2015) Material Conditions in the Post-Human City (documentation, oblique view) 222 Fig. 15.1 Walking on geothermally heated streets I, Vesturbær 231 List of Figures xxix

Fig. 15.2 Walking on geothermally heated streets II, Vesturbær 232 Fig. 15.3 On the lava at Garðabær 234 Fig. 15.4 Encountering urbanised lava in Hafnarförður 235 Fig. 15.5 Geothermal heat escapes the pool as steam, Vesturbærlaug 236 Fig. 19.1 Mixtapes from the 1980s and 1990s 296 Fig. 19.2 Te frst CD in the series: Psy(co)motion: A compilation of understated progressive rock 297 Fig. 19.3 A city-oriented compilation: Psy(co)motion 2: A schizocartography of the 80s city 299 Fig. 19.4 A more abstract compilation: Psy(co)motion 3: Wide/open closed spaces 301 Fig. 19.5 A selection of electronica, ambient and house tracks: Psy(co)motion 4: Spatial extrusions 303 Fig. 19.6 A non-themed retrospective: Psy(co)motion REDUX: A schizocartographical retrospective of the 70s and 80s 304 Fig. 19.7 Front cover of the Psy(co)motion REDUX guide 305 Fig. 21.1 Gayle Chong Kwan (2014) Plot (detail) 326 Fig. 21.2 Gayle Chong Kwan (2014) Plot (detail) 327 Fig. 21.3 Gayle Chong Kwan (2014) Plot (detail) 328 Fig. 21.4 Gayle Chong Kwan (2014) Plot (detail) 330 Fig. 21.5 Gayle Chong Kwan (2014) Plot (detail) 333