Towards an Erotics of Place

Filmmaker James-Murray-White shares his experience of some of the world’s desert places, and what the book Desert Quartet – an Erotic Landscape offers as a way into explorations of these places, of our sense of connectedness and self.


1,750 words: estimated reading time 7 minutes


“There is no separation between our bodies and the body of the earth.”
— Terry Tempest Williams, Desert Quartet – an Erotic Landscape

My partner Lucy is a child of the desert — indeed, we met in the Negev eleven years ago on a tour of Nabatean ruins (but that’s another story), and she’s recently returned from a top-up desert visit. Lucy has put me on to an extraordinary collection of writings and drawings: Desert Quartet – an Erotic Landscape, by Terry Tempest Williams and artist Mary Frank. A noted American nature writer, Williams — invoking the sensual lure and drama of the Colorado Plateau — dares to explore “what it might mean to make love to the land”. I’ve not been to the Colorado Desert, but reading this book took me back to the Joshua Tree, the Gobi, the Negev, and my waking dreams of the Sahara…

Desert Quartet - the cover of the book by Terry Tempest Williams and Mary Frank
Desert Quartet – an Erotic Landscape, by Terry Tempest Williams and Mary Frank

Desert Quartet is a short, beautifully illustrated hardback book, and probably quite rare: the sort of gem we stumble upon in a second-hand bookstore. Through it, we are taken on a wild journey of erotics — a quartet of them, in fact, connecting with earth, water, fire, and air. Terry Tempest Williams writes in a spare and intense word-by-word engagement with these elements, the place, space, and sensory feeling, and with herself: identifying, touching, and loving landscape and all within it.

It’s a book to read with a lover, or to take alone on a desert hike. If you are in the UK, Dungeness in Kent is our nearest thing to a desert — although not classified as such by the Met Office. It’s certainly a wonderfully wild place, and worth visiting to see the cottage and garden created by visionary artist and filmmaker Derek Jarman. If you’ve not been, do go. This book would be a useful companion: a wild guide to rewilding your soul and yourself.

Dungeness, southern England’s ‘shingle desert’
Photograph © James Murray-White sky-larking.co.uk

Desert Quartet — desert life

Rewilding is an opening up: allowing growth, listening and looking deeply — getting to the depths of the soil and loam. As Williams writes, “The wind becomes a wail, a proper lament for all that is hidden. Inhale. Exhale. This is the dreamtime of the desert, the beginning of poetry.” Rewilding is us as humans seeking genuine and open authenticity — and then connecting that with the outer wild!

Desert life is raw, tough, not for the fool-hardy. I identify with the bunch of British travellers and writers who have gone out and lived in, crossed, or tasted in some way the deserts of our world. T.E. Lawrence, famously, ‘became’ a desert dweller, deeply identifying with desert life and its peoples, and then was ultimately caught up in the military wargaming of the First World War (and came back to try to instil the desert culture within himself as a mystic hermit in the New Forest). Wilfred Thesiger crossed the ‘Empty Quarter’. And, most recently, Rory Stewart openly identifies with both these figures and this has shaped his ends politically. Deserts do have an extraordinary impact upon the human psyche, however we taste them, and it is not to be taken lightly. So Desert Quartet is in many ways a primer to know how to take both our psyche and our physicality into such a harsh environment.

Negev desert
Photograph © Lucy Michaels

My desert time has taken me to the Gobi in Mongolia, the Negev in Israel, and the Mohave in California, and still I crave more. The Gobi opened my eyes to the truly vast — the endless savanna and the liminal changes across a space: from the snowy high tops of the Altai mountain range, to the coarse sand and temperate climes of the middle regions. The Negev seems harsher: it is a six-month no-go region if you can’t stand relentless heat. In both these deserts I was drawn in by the peoples — by the nomads of Mongolia and by the Bedouin of the Negev, also nomadic but now politically forced to settle by political structures and states. It is crucial not to get sucked into romantic notions of indigeneity amongst surviving nomadic peoples: yes, their lineage is long and deep, and there is great wisdom, but there is the harsh reality of everyday life. Such groups can survive and sometimes thrive, but it is against the ever-creeping modernity of capitalism and catastrophic environmental damage: mining and river pollution in Mongolia, and military exclusions, creeping cities, and extremist land laws in Israel are examples that come instantly to my mind.

Mongolia
Photograph © James Murray-White sky-larking.co.uk

No ancient, passed-on knowledge equipped nomadic peoples in our current age to deal with the insipid hostility of modernity: theirs is a hard-edged living in present-day reality, wondering how their children will cope with feet in both camps. Most Bedouin and Mongol nomads I’ve met would laugh at the notion of us sensation-seeking Westerners going out to desert spaces to connect with land, to connect with the ‘erotics of nature’, and ultimately with ourselves. For desert-dwellers, this world is already within. Just as many nomads are forced — by the capitalist economy, by bitter harsh weather and changing climatic conditions, or by political threats or force — to move to the cities, imagine if the situation were reversed and we had to flee our urban territories…  Like the wandering Mormons off to the brave new lands, we might find our call to desert lands before those external forces might prevail upon us.

My 2012 film Steadfast is an exploration of Bedouin life in the Negev, looking at the pressures these tribal peoples face, and how their interaction with the ‘new world’ cuts many ways. 

A desert calling

Deserts are, in essence, the deepest place of our calling. If we are not of that place, the desert, we may — if we are lucky in our human lifetime — feel called there and experience the otherness of the place. Many have gone to deserts to meditate, to be humbled, and even to die. Terry Tempest Williams went there to feel into her most erotic landscape. I’ve been called to deserts to walk and look, and chiefly to meet nomads and desert dwellers. This is an amalgamation of the ecological parts of the entire spirit of a desert.

At Extinction Rebellion Rewilding (gathering on Facebook as the ‘rewilding’ wing of Extinction Rebellion), we have recommended an exercise explored in Mick Collin’s book The Visionary Spirit, of identifying yourself with a tree as a form of life-review and engagement with presence: imagining ‘your’ tree, feeling your roots, trunk and branches — anchored, flexible and spreading out — and noticing your sense of flourishing, connection and resilience. In a similar way, I recommend using Desert Quartet as a total mind/body guide to engagement with place. It maybe offers an opportunity to reflect upon place/self, the wild edges between these, and (if you choose, within a Buddhist dialectic) no self; and an example of how we might want to reflect and record that through words, art, and more.

Desert Quartet - showing a page from the book by Terry Tempest Williams and Mary Frank
‘Desert Quartet – an Erotic Landscape’, by Terry Tempest Williams and artist Mary Frank

I’m just starting on another Terry Tempest Williams book, Red: Passion and Patience in the Desert, which switches into the politics of land use and land rights in American deserts: after the sensual, deep inner wild, out now into the boxing ring of human ecological scenarios and ego and squalling…

“I strike a match and light the shreds of kindling I have cut with my knife. I fan the incense toward me. The smoke rises, curls, coils around my face. It feels good to be in the desert again. Home — where I can pause, remain silent. There is nothing to explain.” — Terry Tempest Williams, Desert Quartet — an Erotic Landscape.


Find out more

Desert Quartet – an Erotic Landscape, by Terry Tempest Williams and Mary Frank, was published by Pantheon Books, New York (1995). You can read an extract here, and in a piece for High Country News on 3rd June 1991, Williams says “Let us get out and love the land. Let us be intimate. The most radical act we can commit is to live well. There is no defence against an open heart and a supple body in dialogue with wildness. Internal strength is an absorption of the external landscape. We are informed by beauty, raw and sensual. Through an Erotics of Place our sensitivity becomes our sensibility.” (Yellowstone: the Erotics of Place, High Country News, 3rd June 1991, page 16).

You can explore Dungeness, situated next to Romney Marsh in Kent and one of the largest expanses of shingle in Europe, at Unusual Places. And there is more to discover at Romney Marsh – the Fifth Continent. It has been said that Dungeness is like Marmite, you either love it or hate it. The landscape certainly divides people – a broad, echoing flatness with the nuclear power stations on one side, the shingle dipping into the sea on the other and railway carriages turned into quaint and strange looking dwellings. The stark wild beauty and distinctive character of this shingle desert engenders feelings of awe, wonder and curiosity.”

The Visionary Spirit: Awakening to the Imaginal Realm in the Transformocene Age by Mick Collins is published by Permanent Publications, UK (2018). You can read an interview with Mick about the book: Awakening to the Transformocene Age. Mick talks about his previous book, The Unselfish Spirit, in this 2014 podcast and you can watch his recent talk at the Into The Wild Festival, Summer 2019, introduced by James.

Extinction Rebellion Rewilding is the Facebook group exploring how rewilding can also be seen as not only the regeneration of natural biodiversity but also as the respect and rediscovery of indigeny and balanced relationship within the diverse ecosystems of the earth. “All acts of rewilding are Rebellion.”

You can watch James’ film Steadfast, and more of his films, on Vimeo. And don’t forget to check out Finding Blake, the website for James’ most recent film project, reimagining William Blake for the 21st Century. In one of his previous ClimateCultures posts, “Summon the bravery!” Encounters at Small Earth, James describes taking part in the Small Earth conference in 2018, where psychotherapists, ecologists, economists, philosophical and spiritual thinkers gathered to address hope for future living within the ecosphere.

James Murray-White
James Murray-White
A writer and filmmaker linking art forms to dialogue around climate issues, whose practice stretches back to theatre-making.
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Othering — on Woodlands, Maps and Language

Artist Jo Dacombe explores the othering of woodlands through maps and language as bordering us off from the natural world, and looks to ways to reconnect.

 


2,000 words: estimated reading time 8 minutes 


Sociologist Yiannis Gabriel has written that Othering is a defining feature of Western culture:

“Some authors (notably Said, 1985, 1994) have argued that Western identity and culture are fundamentally forged by an othering logic, one that dehumanizes or devalues other people, such as primitives, uncivilized, orientals, blacks, non-believers, women and so forth. An essential feature of othering is denying the Other his/her own voice, denying him/her the opportunity to speak for him/herself and instead attributing qualities, opinions and views that refer to one’s own identity and culture.”

Othering occurs to non-human subjects too. It also occurs in relation to our environments. This Othering of Nature has been discussed by thinkers such as Latour and Levi-Strauss; the Enlightenment enabled this dichotomy in order for humans to exploit nature to their own ends.

The Enlightenment was an intellectual and philosophical movement that dominated the world of ideas in Europe during the 18th century. Emphasising intellectual and scholarly methods and using reason for gaining knowledge, the ideas of the Enlightenment worked against religious, spiritual or traditions of knowledge and thus elevated the European intellect to the highest status. One could argue that this set up the eventual split between the human world of reason and intellect, and Other worlds of spirituality or non-humans. Thinkers of the Enlightenment saw nature as a source to study and the wild as something to be controlled, to be subjugated under the will of humans, and thus the natural world could be exploited by human domination to suit their needs.

Othering as acts of bordering and of enclosing

Othering creates borders. We try to describe our environments using maps. We draw geography and delineate between this area and that. In essence, borders are made-up, imagined edges. They may make our map drawing a little easier and our politics more manageable, but they are still not real. Birds and animals have a sense of territory, sometimes, though perhaps not all of them. But certainly plants don’t stick to their own area in quite the same way; perhaps they have a more accidental way of landing and then surviving where the conditions are right. Animals, plants and birds all attempt to find a space in which the area and resources are what they need to survive. Humans carve out their territories for similar reasons, but there seems to be a more calculated motive, which can become about expansion for the sake of it, going too far with ideas of world domination. There seems more ego in it.

I love maps. They can be beautiful works of art and fascinating time capsules of a place. However they are also powerful, and as with all power theirs can be used or abused. A map presents a place from the perspective of the mapmaker. Every mapmaker has to make decisions about what to include and what to leave out, and this will depend on what the mapmaker thinks is important, corresponding to his or her own personal bias. Maps are all about drawing borders, identifying areas of particular characteristics, placing points of interest within contexts; sometimes imposing those contexts. Thus, maps can be tools of Othering. By creating maps of particular areas, we also create Other areas. 

Oliver Rackham writes of the changing maps of woodlands over the centuries. Ancient woods marked on maps appear now much as they were in earlier maps of 1580; zigzag outlines, boundaries that go around individual large trees, maps drawn to describe the natural boundaries set out on the ground, not from a draughtman’s office. Straight lines on maps do not appear until 1700, when woods started to be grubbed out or enlarged. These altered boundaries appear regularly curved or straight. 

“In Planned Countryside the irregular shapes of ancient woods sit awkwardly among the straight hedges laid out around them by Enclosure Act commissioners. In Ancient Countryside, the ghost of a grubbed-out wood may haunt the map as the irregularly-shaped perimeter of a ‘Wood farm’ whose internal hedges are anomalously straight.”

These imposed boundaries were due to Enclosures of land, and marking out forest areas as royal preserves. Gamekeeping in Britain specifically contributed to separating people from woodlands, unlike in France, Germany and Switzerland where “ancient woods are everyone’s heritage; in Britain alone have we lost that birthright, and with it our knowledge and love of the woods.”

Putting Nature in its place

And yet we do have a love for the woods, but I would argue that this is a different sort of love from the one that Rackham describes. For many of us, woodlands are like a brief flirtation rather than a commitment like marriage. We go to the woods to escape. We see them as places that are separate from our everyday lives, and that is why we love them. They are places for ‘nature’ and reserves for wildlife. We are happy with wildlife when it is in ‘its place’, in other words, not in our place.

Othering woodlands: Enchanted 1. Photograph by Jo Dacombe
Enchanted 1
Photograph: Jo Dacombe © 2019 www.axisweb.org/p/jodacombe/

Woodlands are often ‘other’ to the modern human world. They are a place of nature, a retreat, something to be preserved in a ‘natural’ and untouched state, not to be interfered with by human activity. They are to be kept for us to enjoy when we visit, but not to become part of our modern way of life. The two things are separate.

On the one hand this could be positive; the Othering of the natural environment means we have an urge to conserve it, to admire it, not to interfere with it too much, surely this is a good thing. However my view is that the Othering of nature means that we become more and more disconnected from our natural environments and from woodlands. They become a desirable thing for our leisure time, but there is a danger then that perhaps they are not a necessity when resources are scarce. Woodlands are valued and magical, they are precious to us in a way, like a beautiful object kept in a glass case. In my book Imagining Woodlands I have written about the Enchantment of woodlands and the notion that they are faeryworlds, or otherworlds. But these faery stories and folk tales add to the Othering of woodlands as distinct from the human world.

This has not always been the case. Once the woodlands in Britain were an important part of everyday human lives. People worked in and with forests. Woodlands were places of industry as much as leisure, where wood was gathered for a variety of uses, livestock were grazed there, and charcoal was produced as fuel. It is my belief that when woodlands were connected to us in this way, as something we lived on, relied on and thus valued, that the woodlands were more likely to be conserved by us as something essential. It was not Other. It was a part of us, and we were a part of the woods.

Our language contributes to this act of Othering. Our language both reflects and shapes the way we perceive things. It is almost impossible to speak about the natural world without Othering it – there I go again! Just by uttering those words, ‘the natural world’, I have made it separate from the alternative, the ‘human world’.  Yet there are cultures that do not have a word for nature because they do not see it as a separate entity, such as small scale communities in the Amazon and the Malaysian rainforests.

Othering woodlands: Enchanted 2. Photograph by Jo Dacombe
Enchanted 2
Photograph by Jo Dacombe © 2019 www.axisweb.org/p/jodacombe/

Currently there is a national drive to plant more trees, to mitigate the effect of imminent climate breakdown. To re-wild, and re-forest. But these things will not overcome the Othering of the woodlands. Perhaps planting new street-trees would be more effective; integrating swathes of trees into our everyday lives and right up to our front doors.

I grew up on a street called The Avenue. It was lined with large-leaved linden trees. Every day I would say hello to these trees, and watch as they sprouted new twigs at the base, bright red new sprouts that would bear pale yellow-green, large heart-shaped leaves. I would notice the colours changing with the seasons, fear the wasps that would gather in late summer to sip from the stickiness on the leaves, and worry about the black spots that sometimes appeared. I knew those trees well, and they were a part of my daily life. Now I’m older, I still feel a particular affinity with linden trees and I always recognise them and feel that strong connection. Other trees I have got to know since, but it has often been a more forced relationship, as I have felt I ought to know more species’ names and learn about them. But linden trees I grew up with, and I still miss them now that I live on a road without trees.

Perhaps a change in our language could help too. There is a fascinating section in Rackham’s book about the many Anglo-Saxon words for woodlands, many for which their specific meanings have been lost. These words demonstrate the greater connection they had with woodlands, and how they reflected the way they thought of woodlands in different contexts. For example, feld is an open space in sight of woodlands, with which to contrast it. A ley or a hurst appear to mean inhabited space surrounded by woodland. These words show how woodlands were a part of a wider, connected landscape, rather than a separated area on its own. Perhaps our language needs to expand to reflect this way of thinking again; to develop a lexicon to describe landscape relationships rather than separate features.

Old English consisted of a vocabulary of short words, and so used composite words to expand the vocabulary, which we know from the long saga poems such as Beowulf. For example, a whale is referred to as an ‘ocean-rider’, using two words combined to be descriptive of the animal. Often this was a way of creating the correct alliteration that was required by the poem, but it also produced beautifully descriptive new words.

I wonder if this is a way we could create new words to better describe our landscapes? To start to generate those connections between objects and surroundings, to embed things fully into the landscape and the way we speak of it? ‘Street-tree’ is one example, placing the tree in a particular type of location. How could we use words to better describe the different types of woodland? ‘Slope-spruce-holt’ for trees on a mountain side? (Holt being the Old English word for a wood of predominantly one species.) ‘Poplar-shimmer-shaw’ for the effect of a line of white poplar trees from a distance when the wind turns their leaves over to show the pale side? (Shaw meaning a small wood on a boundary.)

How would this way of using language change our relationship with the natural world around us? Would naming the specificity of woodlands make them more personal, more valuable, and better connect us to them?


Find out more

Jo Dacombe is currently creating a book of words and images called Imagining Woodlands, which will be available in 2020. You can read Jo’s earlier ClimateCultures post, Bone Landscapes, describing her work with museums and researchers on visual art inspired by relationships between bones and landscapes, now and into the future.

Oliver Rackham’s classic The History of the Countryside was originally published in 1986 and is to be reissued by Weidenfeld and Nicholson in 2020.

You can read Yiannis Gabriel’s 2012 post The Other and Othering – a short introduction at his website.

And you can explore The Lost Words: A Spell Book by Robert Macfarlane and Jackie Morris (2017), published by Penguin. The book “seeks to conjure back the near-lost magic and strangeness of the nature that surrounds us” and has generated a set of songs, available from the same site.

Jo Dacombe
Jo Dacombe
A multimedia artist creating work, installations and interventions, interested in mapping, walking, public space, sense of place, layers of history and the power of objects.
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The Last Snows

The Sphinx - photography: by Nick HuntWriter Nick Hunt travelled to Scotland’s Cairngorms in search of a once permanent presence that’s becoming another marker of a new transience: enduring snows that serve as scraps of deep of time, now endangered on our warming island.


710 words: estimated reading time 3 minutes 


Garbh Coire Mòr in the Cairngorms is home to two of Scotland’s longest-lying snow patches: Sphinx and Pinnacles (named after nearby climbing routes). They normally endure year-round in this remote, high corrie. But things are not normal any more. In recent years they have melted before the end of the summer, bellwethers of a wider change.

In the last week of September I went to find what was left of them.

Garbh Coire Mòr - Photographby Nick Hunt
Garbh Coire Mòr
Photograph: Nick Hunt © 2019

An Arctic outpost

After catching the sleeper train to Aviemore and walking for around ten miles up the rugged post-glacial valley of the Lairig Ghru, I arrived at the foot of Braeriach in the early afternoon. Cloud hung low over the mountain but in the hollow of Garbh Coire Mòr it lifted for a minute or two, just enough time to give me a glimpse of two pale eyes.

A tundra landscape - photograph by Nick Hunt
A tundra landscape
Photograph: Nick Hunt © 2019

As I approached, leaving the path to walk over a boggy weave of blaeberry, moss and reindeer lichen – the tundra landscape that turns the Cairngorms into an exclave of the Arctic – the shapes of the snow patches became more apparent. It was difficult to guess their size. The final climb was a scramble up wet, sliding scree.

Sphinx - photography: by Nick Hunt
Sphinx
Photography: Nick Hunt © 2019

First I went to Sphinx, the smaller, slightly higher patch. Up close its snow wasn’t smooth, or even particularly white, but blushed pink with the run-off of the mountain’s reddish soil and stained black with darker grime, hairy with pine needles. Its surface was pitted and eroded from ablating and refreezing. It hardly looked like snow at all but a lump of spoiled meat.

Pinnacles - photograph by Nick Hunt
Pinnacles
Photograph: Nick Hunt © 2019

Pinnacles was bigger, perhaps eighteen metres long and a metre tall, though underneath it had lifted off the rock and appeared to be almost floating. I’d brought my ice axe with the idea of attempting a traverse, but I didn’t think it would hold my weight. Besides, it seemed disrespectful.

I laid the axe on top for scale and simply sat for an hour or two in the snow’s company. I put my bottle underneath to catch its dripping water. I felt reluctant to leave its side, as if I was keeping company with a stranger, terminally ill. I didn’t want to leave it alone. But at last I had to.

'Critically endangered' - photograph by Nick Hunt
‘Critically endangered’
Photograph: Nick Hunt © 2019

Endangered snows

When Sphinx first disappeared in 1933, the Scottish Mountaineering Club declared the event to be so unusual that it was ‘unlikely to happen again’. But it did: in 1953, 1959, 1996, 2003, 2006, 2017 and 2018.

In the words of Iain Cameron, a dedicated ‘snow patcher’ who studies these icy anomalies, Sphinx was ‘critically endangered’ in the week I went to find it. For a while it looked like 2019 would be the first time in recorded history that it had disappeared for three years in a row. But it has been lucky. Early October snow prolonged its lifespan slightly, and a recent heavier snowfall has buried it in white again. Against all odds, it looks safe for this winter. But, in the new normal of runaway global heating, no one knows what the coming years will bring.

Scraps of Deep Time - photograph by Nick Hun
Scraps of Deep Time
Photograph: Nick Hunt © 2019

It is easy to understand the appeal of these unlikely snows. They are not only scraps of winter but scraps of history, of deep time. Obvious symbols of endurance, of bloodyminded obstinacy, they are also thermometers that self-destruct as our island warms. When their last crystals have dripped away, the national thaw will be complete and Britain will be entirely free of snow in summer. Bare.

At last it started getting dim, so I turned back down the mountain. The smudged eyes watched me go as the heavy cloud drew in again. When I looked back from further down the slope they were gone.


Find out more

With thanks to Iain Cameron, who co-authored Cool Britannia with Adam Watson (Paragon Publishing, 2010) and who photographs, measures and writes about snows on Britain’s hills. Find him on Twitter at @theiaincameron.

Nick Hunt
Nick Hunt
A fiction and non-fiction writer and editor for the Dark Mountain network of writers, artists and thinkers who've stopped believing the stories our civilisation tells itself.
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Beneath What Is Visible, A Vast Shadow

Photographer Oliver Raymond-Barker uses an innovative take on the camera obscura to uncover visible and invisible networks and complex histories embedded in a Scottish peninsula whose water-and-landscape is home to nuclear arsenals, peace activists and pilgrims’ spiritual traditions.


2,720 words: estimated reading time 11 minutes 


Last November, I joined other artists presenting work as part of Planetary Processing, a gathering for whom photography is a mode of speculation on geological, celestial and bodily systems. I showed prints and text from my latest project, Trinity.

I created this body of work during residencies at Cove Park arts centre in Scotland, where I could engage with the unique ecology of the Rosneath peninsula: the landscape itself, the networks visible and invisible that have been imposed upon it and the complex histories embedded in its fabric.

Beneath land and water

The peninsula is dominated by the presence of HMNB Faslane and RNAD Coulport, the home of Trident, the UK’s nuclear deterrent. Existing alongside these sprawling sites are the small, temporary constructions of itinerant activists — locations such as the Peace Wood bear traces of their occupation.

Trinity references the early Christian pilgrims that voyaged to remote corners of the British Isles, such as Rosneath, in search of sanctuary; peregrini who sought to use the elemental power of nature as a means of gaining spiritual enlightenment. However, it also alludes to the contemporary use of the land — promised into the service of conflict, boundaries delineated upon the surface that pay no heed to its deep geological history.

I made these images using my own ‘backpack obscura’ — a custom-built camera obscura designed to allow me to capture large format images in remote locations. A light-tight tent, it uses rudimentary materials and a simple meniscus lens to project the desired image onto the floor of the camera. As well as being my means of image making, it also served as my shelter from the elements.

After two extended stays on the peninsula I felt I had enough material to begin the editing process. However, I soon realised that conveying the depth and breadth of what I had experienced was going to be difficult using image alone. The idea of creating a publication seemed the perfect solution as a means of expanding and extending upon my work. I feel the combination of critical and creative texts really help to locate the imagery whilst also providing a platform from which the reader can access the project.

Image shows cover design of Trinity, a book by Oliver Raymond-Barker. Design by Loose Joints.
Trinity, by Oliver Raymond-Barker. Book design by Loose Joints © 2019

What follows, with some of the images I took, are edited extracts from the two texts that have been provided for the book: Not Negative, an essay by Martin Barnes, Senior Curator of Photographs at the Victoria and Albert Museum in London; and Trinity, writer Nick Hunt’s creative memoir of his stay in 2002 at the peace camp near to the naval base that’s home to Britain’s nuclear deterrent of three Vanguard-class submarines equipped with thermonuclear warheads, where he engaged in several direct actions against the base.

Not negative

an edited extract of an essay by Martin Barnes

Most photography deals in detail, giving the illusion of facts, and with that, an instant understanding. In contrast, these images convey in their evocative obscurity only a steadily gathering comprehension. Raymond-Barker creates a sequence of repeated motifs that gather force and meaning because of their claustrophobic insistence. Branches, foliage and sky dominate, interspersed with mountainous terrain, bodies of water, security fences and eerily empty buildings. Punctuating the procession of glimpsed black and white impressions are shocks of colour: burnt orange, butane blue and blood red. Together, these images appear like the mental flashbacks of a person who is attuned to the animal, seeking survival, hunted in the half-light. Crucial to the arresting aesthetic and meaning of Raymond-Barker’s photographs is his pairing of contemporary concerns and production with basic nineteenth-century analogue techniques, notably paper negatives, which hark back to the origins of photography. In the analogue age, the technical processes and language used to conceptualize photography inhabited a liminal and alchemical space. Unique and ‘latent’ images were formed in light-sensitive silver salts on the surface of metal, paper, glass, and later, plastics. Rituals of the darkroom allowed those images to conjure multiples in the form of positive prints emerging into the light.

Photographer by Oliver Raymond-Barker
Photographer: Oliver Raymond-Barker © 2018

In sidelining negatives to a functional and more subservient role in relation to the positive prints, the artistic and physical uniqueness of the negative remained unexploited. Yet, until they are printed, negatives contain significant untapped potential, like a charged battery waiting to be connected. Moreover, negatives are direct witnesses, actual chemical evidence, still, silent, traces and links to the time and place witnessed by the photographer and channelled onto a light-sensitive surface.

Photograph by Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

For the images in this book, Raymond-Barker created a ‘backpack obscura’, a modern portable version of the camera obscura used by artists since at least the sixteenth century. In his construction, a light-tight tent is pitched in the landscape and a 70mm lens and mirror extended outside it projecting an image of the surroundings on a white groundsheet on the floor. Once the composition is decided, in the darkness, he unrolls a sheet of resin-coated paper and places it on the floor to capture an exposure of some fifteen seconds. During the exposure, he is intent, sometimes ‘dodging’ and ‘burning’ the paper. Such methods are conventionally reserved for darkroom printing from negatives, to block or increase light in selected areas, enhancing or reducing contrast and softening edges. The tree canopy above the tent is often the natural subject. The latent image is formed on the photographic paper and will not be visible until later when he returns to process it in his darkroom in Penryn in Cornwall, many miles away. At night, he may sleep in the tent where the image he has captured on the site also lies temporarily dormant.

Some of the black and white paper negatives Raymond-Barker makes remain unique images. Others become the basis for black and white positive ‘contact prints’. However, Raymond-Barker also achieves some tints by combining his negatives with colour photographic papers and processing. He embraces as authentic and integral to the process what might conventionally be seen as faults: water damage, scratches, and uneven development and exposures.

Photograph by Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

We may intuit from the uncanny appearance of these photographs that the location they depict is a landscape full of echoes; that it holds a deep history resounding with the ominous undercurrents of the present. It enhances the work to know that these Scottish landscapes are at a location likely to have been near the sites alighted on by evangelist monks from the early Celtic church. By stark contrast, it is also the area close to the present-day Clyde nuclear submarine base at Faslane bay. It is a place of bleak and sublime natural beauty in which helicopters and police boats are reminders of an awesome destructive power that lurks beneath the water. The protesters’ nearby peace camp consists of homemade structures, humbly defiant in the face of military might.

Photograph by Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

Lines from the Anglo-Saxon poem Beowulf, translated by Seamus Heaney, describing a fearsome threat hiding in the woods and waters, seems apposite:

A few miles from here
a frost-stiffened wood waits and keeps watch
above a mere; the overhanging bank
is a maze of tree-roots mirrored in its surface.
At night there, something uncanny happens:
The water burns …

Raymond-Barker opts for a similarly poetic approach in his image making and storytelling. The charge of his pictures lingers like a half-remembered dream.

Photograph by Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

Trinity

an edited extract of an essay by Nick Hunt

He approaches from the south, a small man in a ragged robe. He comes carefully through these woods. There is no razor wire. Sunlight and shadows slide off him, spiderwebs break silently. The skeletons of dead leaves cling to his rough hair.

Behind him is the Irish Sea, cold and grey, with white-capped waves. On the rocky shoreline lies an abandoned coracle. Crabs have made their homes in it. Its willow ribs press on its skin. He will not need it now, for there is no return.

He traces the long line of the loch, stitching himself into the land. Around him is an interweave of oak and ash and pine. He picks his way through tangled thorn. There is no smooth road. Beyond the trees a wet wind blows over open water.

It rises up from deep below. Its shoulder breaks the surface. Water thunders from its flank. The daylight makes it gleam. For long months it has been submerged in darkness and in secrecy, nursing its destructiveness. It has seen the bottom of the world, the undersides of ice floes. Now its weight is buoyancy. It surfaces to claim the air.

Beneath what is visible is a vast shadow.

The call goes up just after dawn. I stumble from my tent. People are staggering around, pulling off their sleep-warm clothes. I spill coffee on myself. Someone blows a trumpet. The loch is hidden by the trees and I can’t see what the others have seen. There is something I’ve agreed to do in this eventuality but I do not know what it is. My brain is still stunned with sleep. Then I know again.

People are running to the loch. I follow without shoes. We leave the camp, cross the road and stand upon the lapping shore. There are no police around. There is no time to think. From the wet heap at my feet I select a thick black skin and drag my legs into it, heave it over my chest and arms, being flayed in reverse. It is clammy, tight and cold. Its smell is like an old tomb. We wade into icy water clad in neoprene.

Photograph by Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

He passes dwellings in the trees. Bivouacs and benders. Turf-roofed huts and tents. The camps of charcoal burners. Through the smoke he glimpses them, the gentle outcasts of these woods. Those who fled from villages. Those who are misshapen. He sees them gathered by their fires telling stories, singing songs. He blesses them as he walks by. They do not notice him.

Behind him are the gilded robes that he shed for plain sackcloth. His hand exchanged a crosier for a staff of blackthorn.

These woodlands end against the shore and he walks the pebble beach, the wind harsh upon his skin, following the undulating highlands with his eye. A seabird turns in the air. There is a stink of wrack. He could build a chapel here but something tells him to walk on, away from the long water with its access to the sea. He does not trust those depths. That shadow in the water.

The grey waves part on either side of its gliding topmost fin and join again behind, leaving no trace of its passing. It monstrous mass keeps pace below. Seabirds keep their distance. As it slides towards its home it scans the confines of this sound, reading depths and distances, alert to any obstacle. Its brutal, sleek intelligence seems evolved and not designed.

In its wake, a flying machine hangs and buzzes watchfully.

There were glaciers here once that tore strips from the land. Then the sea flooded in. It travels in their absence.

The first steps into coldness hurt, the next ones not so much. The water grips my legs, my thighs, my chest. I start to paddle. At first we cluster in a bunch but soon the swimmers scatter out. Spectators gather on the shore, shouting exhortations.

The low horizon of the hills goes up and down beyond the waves. Small waves slap against my mouth. I concentrate on breathing. The water feels very dense, made sluggish by the cold. This is not my element. The distance feels hopeless.

Far out, a noisy helicopter turns slow circles in the sky. It must be half a mile away. Below it I can see the shape of something great and dark.

Photographby Oliver Raymond-Barker 2018
Photograph: Oliver Raymond-Barker © 2018

He wanders enraptured, ruptured. The sunlight breaks upon him. On the shore he falls to his knees with the immensity and stares upon the awesome light that floods the shadows of the world. The god of love is everywhere. It is all a marvel. He closes his dazzled eyes and the world appears in negative, the black sky and the white trees, the incandescent veins of leaves, the bleached water opening to some great revelation. A vision flashes in his mind of blank structures on the shore, hard-edged and unknowable, working to some vast and terrible design. The revelation fills him but he cannot understand it. When he opens his eyes again, everything is as it is. The trees, the stones, the small waves are fixed in their positions.

It registers nothing of these things. Nothing penetrates. Its mind, if it has a mind, is as blank as a stone. It has almost reached its home. Its velocity starts to slow.

We doggy-paddle, thankful but defeated, back towards the land. As I focus on the shore I see a man stooping there. Water flows from his cupped hands. He gazes somehow through me. I think about solid ground, warm clothes, a welcome fire. When I look again he is no longer there.

Note from Nick Hunt inside Trinity, a book by Oliver Raymond-Barker. Book design by Loose Joints © 2019.

Find out more

Planetary Processing took the form of a six-month artist-led peer forum, funded by Artquest and hosted by The Photographers’ Gallery, London. 

A fully designed mock-up of Oliver’s photobook, Trinity, was shortlisted in the 2019 Kassel Dummy Award. “This year we again invited all photographers worldwide to take part and to send us their unpublished photobook mock-up. In total, 362 photobooks from 37 countries from all over the world were sent in.” The book will travel around the world for the next six months for various exhibitions.

The book was designed by Loose Joints: “For this sprawling publication we used an interplay of papers, sizes and colours to re-structure Barker’s immersive images, which are made using a backpack-mounted camera obscura to make and print photographs in situ. The result is a swirling mixture of tones and sensations…”

In his essay, Martin Barnes says, “There is something powerfully primal about Oliver Raymond-Barker’s most recent photographs. Passages of flaring light, blurred boundaries and hard shadows mix with vaporous swirls and smudges. They give the impression of an eye-opening from slumber onto a world that is not yet fully formed, a realm that is intuited rather than understood … Raymond-Barker’s artistic practice is linked to the early experimental phase of photography, reclaiming the negative as an idea as much as an image that immediately conveys something familiar yet otherworldly. In this and earlier work he is primarily concerned with the intersection between history and landscape. His method is to embed himself in a specific location … by walking on a lone pilgrimage. He allows time and the alternative ‘camera-less’ photographic methods he employs to open up ideas and issues in the terrain, a working practice that he describes as ‘getting to the core of a place’. … His subject is the atmosphere of the place, its spiritual history across time, and an uneasy combination of awe in nature with the nascent threat of an unfathomable destructive force.”

Nick Hunt (a fellow ClimateCultures Member) adds in a note to his piece that “St. Modan, the son of an Irish chieftain, renounced his position as an abbot to live as a hermit in the 6th century. His relics are kept at Rosneath Church on the shore of Gare Loch.”

The full texts of Martin’s and Nick’s pieces, Not Negative and Trinity respectively, are available at Oliver’s website. Oliver’s previous post for ClimateCultures, Beyond Tongues: Into the Animist Language of Stone, explores his encounter — on a climb in a Welsh slate quarry — with a world beyond our normal modes of communication and a route away from modern separatist language.

In his essay, Martin Barnes refers to the Anglo Saxon poem Beowulf, the account of that hero’s encounters with the monster Grendel, who terrorised humanity from his lair beneath the shadowy mere. For a discussion on an alternative imagining of Grendel and Beowulf and the perilous meeting of worlds, see Bringing Our Monsters Back Home, my review of John Gardner’s 1971 novel, Grendel.

Oliver Raymond-Barker
Oliver Raymond-Barker
An artist using photography in its broadest sense - analogue and digital process, natural materials and camera-less methods of image making - to explore our relationship to nature.
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‘Creations of the Mind’

creations of the mindFilmmaker James Murray-White reviews A Film-Philosophy of Ecology and Enlightenment. In this scholarly work, Rupert Read advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings.


1,830 words: estimated reading time 7.5 minutes 


It’s a real pleasure to engage with Rupert Read and this stimulating work – particularly as my previous knowledge of him was when he stood as the Green Party candidate for Cambridge, and more recently as an energetic advocate with Extinction Rebellion, where passions run politically high and our frustrations against climate inaction and political corruption are creating cultural shift.

In this new book, A Film-Philosophy of Ecology and Enlightenment, creativity and imagination are at the fore, coupled with the author’s strict academic discipline. The opening line sets the agenda wonderfully — “film is the great form of our time” — while the concluding lines from the final paragraph of the introduction get to the heart of his enquiry: “The real question may be: can films help wake us up in time? What have we learnt or could we learn [from these films], have we learnt enough; and can the learning be shared quickly and deeply enough?”   

Read has selected a range of films to dissect — from Waltz with Bashir, Solaris, and Lord of the Rings, to Avatar — and touches many others, following strands and threads as he expands and deepens his theme.

The human journey

At a launch event for the book in Cambridge, he spoke of his life-long love of this medium, and mused on how best now to tell the younger generation about the existent and deepening climate crisis we are in: “through art you can get closer into the guts of a story.”

A Film-philosophy of Ecology and Enlightenment, by Rupert Read
A Film-philosophy of Ecology and Enlightenment, by Rupert Read

I resonate deeply with this last phrase, as for fifteen years I’ve attempted to dive into stories — mainly human, but always wrapped up in the theme of human/s within a particular landscape. I work principally through the genre of documentary, although with a background before that in theatre and the wonderful stories inherent in stagecraft. Finding the art in both the telling of the story, and the artfulness of the story itself, is always the issue to work on using lens-based media, coupled with the deep dive into the vast jigsaw of accumulated footage allowed in the editing room.

I haven’t yet met anyone who hasn’t loved Peter Jackson’s The Lord of the Rings films (2001-03), featuring the great Ian McKellen as the wizard Gandalf. Not having read the books when young, I came to the films fresh, with no expectations other than slight frowning at a big screen, big box office movie, against my preference for small arthouse indies.

Read goes right into the core of the power of the story and Tolkien / Jackson’s vision, interpreting it as “an exploratory allegory of serious mental suffering”; and yes, I can resonate with that. It is less about good and evil, more about the human journey, as those familiar with the ‘men’s work’ movement will know; in particular, Robert Bly’s book Iron John (1990), based on a German fairy tale, explores in myth the path to adulthood and fuller humanness that men must travel.

Read describes The Lord of the Rings as a “post-theological Buddhist world”, and as a call to go towards our demons (viz the right-wing governments of our time, Trump, the Brexit fiasco, and the oil companies and businesses that exploit this planet and all forms of life upon it). By facing them, we can then see them dissolve. But first we must go on the entire journey, as laid out within Lord of the Rings in a bigger mythological sense — leaving the Shire, into the heat, the battle, chasing the ring, and meeting Sauron — or the path of critical appraisal and engagement with the screen media oeuvre that Reed lays out within his book. And respond. And absorb. And re-feel the world.

Ancient stories 

My filmmaking was greatly enhanced by an eighteen month MA in Media at UWE Bristol, which balanced a light academic dusting with opportunities to explore our practice and to collaborate. My great joy was access to the archives of artists’ films that were the early meanderings in places: estuaries, and mountains framed in long slow shots and sudden effects, and the different ways of telling.

One of my favourite films remains the Inuit film Atanarjuat (The Fast Runner) (2001), directed by Zacharias Kunuk, which shifts rapidly through time and dimensions within the frozen lands and mythology of Northern Canada / Independent Nunavut. It revealed to me new ways of telling: old, ancient ways and ancient stories, but using this newer medium to tell them in modern ways, layered in time, space, and snow. I am looking forward to new Canadian-Haida release from director Gwaai Edenshaw, SGaawaay K’uuna (Edge of the Knife) (2018), which is based on a Haida myth about a man who, weakened by an accident at sea, is taken over by supernatural beings.

Atanarjuat: The Fast Runner, directed by Zacharias Kunuk
Atanarjuat: The Fast Runner, directed by Zacharias Kunuk

My personal recommendation for one of the most interesting makers working today — more on a theme of humans stranded within the time and space of a landscape than a directly ecological dilemma (although I’ll take this up in a review of his work at some later stage) is British artist Ben Rivers. Two Years at Sea (2001) and A Spell to Ward off the Darkness (2013) will both be seen as urgent films of our time — in years to come! In the Holocene, his current project (with Anocha Suwichakornpong), may well be the film we activist/artists get blown away by, due to its creative telling of predicament.

There is such a deep analysis and reflection within A Film-Philosophy of Ecology and Enlightenment that it is challenging to fully do it justice within a short review. In an early chapter that analyses both Waltz with Bashir (2008) and then Apocalypto (2006), Read’s dissection cuts deep, and these beautiful lines I feel sum up his approach:

“One’s sense of safety and of complacent identification with the victims is swept away, and one is left with something much more challenging and unsettling, forcing one to think again about one’s place in the world — and about our responsibilities to preserving this beautiful place of ours.”

Building hope 

Read is a skilled ‘bringer together’ of different plots and themes in seemingly very different films, chewing them together — Never Let Me Go (2011) and The Road (2010), for instance. In one chapter, When melancholia is exactly what is called for, after presenting different interpretations of the films Melancholia (2011) and Solaris (1972) over the course of a few pages, he brings his reflections together to reach very strong conclusions and well-argued points. For example, that while Melancholia offers its audience an emotional means to transcend death where Solaris is bleaker, more pessimistic, they are both cinematic pointers to the immediacy of life as we live it.

We move from memory, and revisionism, acceptance of the ecological crisis we must accept we are within, and the grief that must flow from that, to hope. Although this must be a real sense of hope brought about by community and change, not by technological fixes or a rational-scientific approach, by reason alone, as is also demonstrated by The Master and his Emissary (2009), the dynamic work of Read’s academic colleague and friend, Iain McGilchrist; his book explores left/right brain consciousness and draws heavily upon the work of visionary artist William Blake. Read makes clear that these are key aspects — and importantly, as he says, “neglected aspects”.

Melancholia, by Lars von Trier
Melancholia, directed by Lars von Trier

Ecology and Enlightenment

I have learnt from reading this work that this longer way of watching and cross-referencing films, and of course viewing them at different times of our lives, gives a deeper philosophical perspective; and Read’s deep grounding in Wittgensteinian philosophy takes us deeper still. I’m sure this book will in turn also make me a ‘better’ filmmaker, but more importantly than that, a better attender to, listener, reader, activist for the earth, a seeker of re-feeling and of a spaciousness in our world, in every moment.

Artists within the ClimateCultures network will, I feel, benefit from seeing how the academic eye can respond to what we do, and to bring philosophy into the viewing — and, importantly, into the feeling of engagement. In my own case, this book has widened my personal cinematic perspective. I’m sure it will transform my filmmaking and storytelling more widely, and help sharpen its focus into exploring transformative experience, although mine is a largely documentary eye. After all, however much we love the medium, the screen itself remains a medium, and the infamous Marshall McLuhan quote — from Understanding Media: the extensions of man (1964) — rings true: “The medium is the message. We shape our tools and thereafter our tools shape us.” Read suggests that “One might … risk saying that artists have too often largely only interpreted the world; the point, as any true philosopher or filmmaker will realise, is to change it.” 

And he asks, “So, who would make up stories as horrible as Never Let Me Go and The Road?”

Answer: Ones who wanted us to end our dogmatic, complacent or despairing defeated slumber. Both stories concern adults who tell children ‘noble lies’. They raise starkly the troubling question of what we ought to tell our children, at a time when their very future is being radically compromised. The only way to avoid such a predicament without evasion is to change the future.

In conclusion, A Film-Philosophy of Ecology and Enlightenment is an erudite deep dive into the world of stories of the human/earth experience told visually through film: it has much to reveal to readers, be they practitioner of the art, scholar, viewer or activist keen to explore the genre or be rejuvenated by it.

I highly recommend this book, and thank Rupert for his skills and energy spent researching and writing. 


Find out more

A Film-Philosophy of Ecology and Enlightenment by Rupert Reed (2019) is published by Routledge. Rupert Read is Reader in Philosophy at the University of East Anglia, UK. He is a renowned Wittgensteinian scholar, with research interests in political and environmental philosophy.

SGaawaay K’uuna (Edge of the Knife) directed by Gwaai Edenshaw (2018) — which receives its UK premiere as part of the Canada Now film festival in London, from 24 to 28 April — is dsciussed in this recent Guardian article (28/3/19), Canadian film made in language spoken by just 20 people in the world.

The title of this post, ‘Creations of the Mind’, is from a quote in the frontspiece of the book and comes from Jetsun Milarepa, an 11th century (CE) Tibetan yogi and poet:

See demons as demons: that is the danger.
Know that they are powerless: that is the way.
Understand them for what they are: that is deliverance.
Recognise them as your father and mother: that is their end.
Realise that they are creations of the mind: they become its glory.
When these truths are known, all is liberation.

— Milarepa

James Murray-White
James Murray-White
A writer and filmmaker linking art forms to dialogue around climate issues, whose practice stretches back to theatre-making.
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