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Playing Puck: a Study of Performative Action in the Shaping of a ‘Legend Landscape’

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Playing Puck: a Study of Performative Action in the Shaping of a ‘Legend Landscape’ PLAYING PUCK: A STUDY OF PERFORMATIVE ACTION IN THE SHAPING OF A ‘LEGEND LANDSCAPE’ ROBERT PETER IRVING A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol, for the Degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2014 Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ Abstract This thesis engages, through visual practice and written analysis, with the British tradition of ‘thin’ places that act as thresholds between everyday circumstantial reality and the otherworldly. It does so by focusing on the complex of prehistoric monuments that make up the Avebury ritual landscape because these have become a crucible of contemporary cultural significance and a site of mystical tourism concerned with allegedly paranormal phenomena. I argue that these circumstances produce a range of responses, often broadly religious or aesthetic, which involve ritualistic, artistic, and, above all, performed activity, where legends are re/enacted into being and presented as fact. My contention is that this activity not only revitalises and extends the legend as a form of cultural mediation but also stimulates a shared ‘sense of place’ that helps to enrich an existing narrative world. In this self-reinforcing cycle, memory, imagination, and artfulness together contribute to the shaping of ‘legend landscapes’ as sites of pilgrimage where otherworldly events are said to have occurred and spiritual presences (and absences) still dwell. The study is undertaken from the ‘insider’ perspective of a practitioner fully immersed in these processes. Following a statement of aims and objectives, and the theories and methodologies that underpin my approach to art practice (Chapter 1), I will describe the historical background to my subject (Chapter 2) before discussing how Avebury’s landscape is perceived today in the context of legend (Chapter 3), and the subtle collusion involved in reciprocal processes of ritual engagement through legend telling by action (Chapter 4). Overall, the argument proposes that concealment or anonymity is an essential tool of this creative practice, acting as a methodological principle that aligns the practitioner with the mythical figure of the Trickster. Thus the artist is presented here as an ‘operator of meaning,’ rather than as a sole ‘creator,’ encouraging a plurality of interpretations – a view that is consistent with my representation of the collusive nature of artistic activity. The thesis discloses a number of hitherto unknown, obscured, or otherwise unrecognized aspects of the legend landscape and of artistic activity within it. The original contributions to knowledge presented in this study are likely to be relevant to the theory and practice of art and cultural history, and the wider contemporary arts community. ii Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ Acknowledgements I would like to thank Dr Iain Biggs, my teacher and Director of Studies, whose depth of insight has inspired me throughout the period of my research. Also Dr Ruth Jones, Dr Victoria Walters, Dr Judith Ashton, and Dr Mary Modeen for their careful supervision, the University of the West of England (UWE), and the Arts and Humanities Research Council (AHRC) for their support. I am indebted to Peter Brookesmith for his editorial advice. My grateful thanks to Dr Chris Wright for his support, to Terry Hall and Davina Kirkpatrick for lending me their ears, to the Circlemakers (John, Rod, Wil, and Mark B.) for all the conversations over the years, to George Hansen for his pioneering research on the Trickster, to Richard Long for his question, and, not least, to Leslie Glenn Damhus for her love and forbearance. iii Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ Se non è ben trovato (Even if it is not true, it is well conceived). Anonymous, Late Renaissance Italian motto. iv Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ CONTENTS Title Page Abstract ii Acknowledgements iii Epigraph iv General Introduction viii 1 Aims, Objectives and Methodologies 1 1.1 Introduction 1 1.2 Aims and Objectives 1 1.3 Research and Cultural Context 3 1.3.1 Personal Background to the Project 3 1.3.2 Cultural Context 6 1.3.3 Legend as Flow 11 1.3.4 Constraints 12 1.4 The Thinking, Theory, and Method Behind my Research and Practice 13 1.4.1 Interdisciplinary Framework 13 1.4.2 Methodology: specific contingences 14 1.4.3 Theory 15 1.4.4 Method – action research in practice 17 1.4.5 Precedents 22 1.5 Towards a Theory of the Trickster as a Methodological Principle 26 1.5.1 Introduction 26 1.5.2 Antistructure 28 1.5.3 Playing Puck 31 1.5.4 Methodological Complications 34 1.5.5 Case Study: H-Glaze 38 1.6 Summary 39 2 Background to the Research 42 2.1 Introduction The post-rationalist re-emergence of the pre-modern 42 2.1.1 The Damned 46 2.2 Separating myth and legend 49 2.2.1 Myth 50 2.2.2 Legend 52 2.3 The Avebury Complex 54 2.3.1 The Power of Place 55 2.4 A ‘long-lost truth’ and its mythic association with the Avebury Complex 58 2.4.1 Aubrey, Stukeley, Newton, and Wood 59 2.4.2 Blake 65 2.5 A Long-lost Truth Reclaimed 67 v Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ 2.5.1 As Above, So Below 71 2.5.2 UFOs 72 2.5.3 The Warminster Mystery 76 2.5.4 Circular Evidence 81 3 Theatre of Schemes 86 3.1 Introduction 86 3.2 Crop Circles 91 3.3 Legend Landscapes 101 3.3.1 Introduction 101 3.3.2 A Haunted Landscape: legend performance as cultural re-membering 102 3.3.3 Harmony Blue 111 3.3.4 Place as Mediating Object 116 3.3.5 Darśan: The Pilgrim Gaze – landscape as temenos/theatre 117 3.3.6 Case Study: East and West Kennet crop circles 127 3.4 Summary 129 4 Ostension, Theatre, Hoaxing and Concealment: The Social Dynamics of Performance in the Legend Landscape 130 4.1 Introduction 130 4.2 Ostension 134 4.2.1 Ostension as Signs, Referents, Interpretants 139 4.2.2 Two Case Studies: Concerning the Normalisation/Inversion of a Legend 141 4.2.3 Subcategories of Ostension 148 4.3 Ostension as Dark Play 150 4.3.1 The ‘Hoax’ as a Theatrical Act of Ostension 152 4.4 The Legend Landscape as Perceptual Field 155 5 Why Give Martians All the Credit? 159 5.1 Anonymity as a Phenomenological Tool of Art Practice 159 5.2 Review 163 5.2.1 Intentionality, Anonymity, and ‘Art’ 167 5.3 Summary 171 6 Conclusion 173 Bibliography 179 Appendices 189 Fieldnotes: Special places, spectral traces Submitted as documentation of the practical element of my thesis DVD A1 Data: responses to my Questionnaire DVD vi Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ LIST OF FIGURES Figure 1: Miracle by S. Harris. 36 Figure 2: The Mowing Devil. 37 Figure 3: A map of the Avebury complex. 56 Figure 4: Silbury Hill. 57 Figure 5: Avebury Stone Avenue. 57 Figure 6: Avebury Henge. 57 Figure 7: Stukeley’s ‘serpent’ map of Avebury. 62 Figure 8: International Times: Flying Saucers. 68 Figure 9: The Flying Saucer Vision. 73 Figure 10: A depiction of the St Michael line. 81 Figure 11: Doug Bower’s sketch of the Chilcomb pictogram, 1990. 83 Figure 12: Alton Barnes pictogram, 1990. 83 Figure 13: Doug Bower & Dave Chorley in Bower’s studio. 1991. 84 Figure 14: A crop circle overlooking Silbury Hill. 92 Figure 15: A typical product from the sacred marketplace. 96 Figure 16: Clouties in an oak tree at West Kennet. 97 Figure 17: Ritual leavings at Swallowhead spring. 97 Figure 18: Red Collie with his notebook. 107 Figure 19: Red Collie on Facebook. 109 Figure 20: Web-like material at West Kennet. 115 Figure 21: Scanning Electron Microscopy of web-like material. 115 Figure 22: The sublime in the horizontal, Waden Hill. 124 Figure 23: West Kennet long barrow, on skyline. 124 Figure 24: View of Silbury Hill from site of stone avenue. 126 Figure 25: East Kennet crop circle from West Kennet long barrow. 126 Figure 26: A purported materialization of spirit phenomena. 138 Figure 27: A crop circle at Yatesbury, Wiltshire 2012. 142 Figure 28: Samples of wheat showing bent growth nodes. 144 Figure 29: One of Andrew Pyrka’s ‘aliens.’ 147 Figure 30: Another of Andrew Pyrka’s ‘aliens.’ 147 vii Playing Puck: a study of performative action in the shaping of a ‘legend landscape.’ General Introduction This project explores and analyses a particular set of beliefs and conjectures that arise from apparent encounters with the paranormal in a particular landscape – the area around Avebury, Wiltshire. I will show how these beliefs and the legendry that arises from them are inextricable from the perceived (but not orthodox) history of this specific landscape, and indeed that they are an extension and continuation of that alternative history.1 In this introduction I will survey the complex content of these legends, and discuss why they and the ‘paranormal’ phenomena that inspire them are an invitation to, as well as a manifestation of, performative artistic activity. These circumstances and their dynamics have informed and illuminated my own art practice. I will then lay the groundwork for the next chapter by deconstructing the title of my thesis, as it contains all the essential elements of my line of argument.
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