“A sense of the past, at any given point of time, is quite as much a matter of history as what happened in it.” -Raphael Samuel
As this historic and influential city readies itself to host the Olympic Games, The London Chronicles by Francesca Panetta takes you on an audio journey through the life of the city to find its many voices and sounds. Chapter four, which Winch and myself feature in, reflects the theme of memory.
London Calling was presented and produced by Francesca Panetta. Sound design was by Nick Ryan, script advice from Tom Chivers and field recordings from London Sound Survey. Producers for the BBC were Pandita Lorenz, Paul Coletti and Pearse Lynch. The editor was Fiona Crack. Pour a scotch, take the plunge.
“Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.” – Italo Calvino, Invisible Cities
Inspired by Italian writer Italo Calvino’s novel “Invisible Cities”, on the 40th anniversary of its publication, this BBC 3 Between the Ears explores the hidden, fantastical and surreal stories caught between the cracks of the modern city.
With contributions from writers, urban explorers and mapmakers we explore the imaginative possibilities held within cities, their secret folds. How does the layout of a city’s streets, underground passages and the glittering spires of its skyscrapers capture our desires, our fears and our memories?
From the ghosts contained in a cavernous lost property office deep underground to the view from the top of an abandoned warehouse – what impression does the structure of a city leave on its inhabitants?
A secondary goal on this project was to hold an exhibit at Royal Holloway during the Creative Campus Initiative garden party in 2010. The exhibit was a huge success and soon after we were contacted by the British Library asking if they could host our film on the Sports and Society page. Then, incredibly, we were contacted by The Archaeology Channel, asking if they could play it during their video news. The number of hits on the video quickly exceeded all expectations (relative to most academic work).
I think everyone on the team, at this point late in 2010, was stunned that the project had taken on such a life of it’s own. We were even more shocked when David Gilbert, the Head of Department at Royal Holloway (who initially alerted us to the competition), asked us if he could contribute departmental funds to help develop the research project into a school module with a lesson plan and DVDs. These were eventually sent out to 500 schools across the UK. Then, in one final chapter, we were invited to author an article about the project for the International Journal of Heritage Studies be be included in a special issue about the 2012 olympics which we have been working on for over a year now (yeah I know, academia is slow!). So, with all that said, I am proud to announce the release of London’s Olympic Waterscape: Capturing Transition by Michael Anton, myself, Alison Hess, Ellie Miles and terri moreau.
I wanted to relay the whole story of this project for two reasons. First, I want to encourage budding researchers to write proposals for projects like this when the opportunity arises. Yes, they are a pain and yes, you don’t really have the time, but often these things can spin off into all sorts of wonderful directions you can’t imagine. You also often get to meet a lot of great people who can teach you unexpected things and may one day become collaborators on other projects. Secondly, and perhaps more importantly, I want to continue to relay to the wider geography community the power of new media. The way this project took off was a result of our combined use of photography, video and text, mashed up in different ways, some of which we didn’t plan or intend. The end result can be a project imbued with far more gravitas than an article alone.
I would just like to end this post with a thank you to Alison Hess, Ellie Miles, Michael Anton and terri moreau for their wonderful collaboration (and friendship!) throughout this process. This was the most fun I’ve ever had working on a research project. I’d also like to thank Amy Cutler and Elisabeth Guthrie for their valuable contributions and Iain Sinclair, Toby Butler, Rob McCarthy, Nick Bateman, Nathalie Cohen, Alex Werner and William Raban for agreeing to be interviewed for the film. Thanks as well to David Gilbert, Tim Cresswell and Phil Crang at Royal Holloway for the support and, of course, to the London Creative Campus Initiative for the funding the work.
“Understanding the past embraces all modes of exploration.”
- David Lowenthal
Graveyards come in many forms. When I was an archaeologist, I used to dig them up all the time. I remember once, when I lived in Hawai’i, I was digging up this skeleton that was embedded in beach sand. I had my trowel under his ribs chipping away at the sand particles embedded in the ribcage and then the whole body came tumbling down on me. This guy Kulani that I worked with said, “cool bro, now you’re cursed like the rest of us”. I put the skull in a brown paper bag and marked it XJ-107 or something. It was clearly a traumatic experience. In Paris, we party in mass human graves. And of course, the whole dereliction fetish component of urban exploration is really just an obsession with decay, death, waste and transition. We explore architectural and memorial graveyards all the time. I don’t think it’s strange though. As Geoff Manaugh muses,
So when I was in Las Vegas this summer and heard there was a massive desert graveyard filled with hundreds of “retired” planes, beautifully preserved in the dry Mojave air, I knew we needed to get in there and play around. The problem was that it was on an active military base. So I called up the crew and they flew into McCarran from Ottawa, Paris and London. We rolled out the satellite images over a few cans of Tecate on the kitchen countertop. With Witek, Marc and Otter on this mission, success was the only option.
After driving for ages from Vegas to the high desert outside Victorville, stopping to build massive bonfires in the Mojave and climb around in some old mines at Calico, we rolled up the the perimeter fence around George Air Force Base (The Southern California Logistics Airport). I won’t lie, the security was intimidating. But, as always, there was a weak point and we found it. Luckily, the military security patrol didn’t see us before we cracked their security routines.
In our sights
Shots in the dark
Fast forward to 2am. The problem with exploring in the desert is, firstly, that you have to drive there and, secondly, that you have to park your empty automobile in a blatantly obvious place, given there’s no cover. Given the only thing within 10 miles is the military base and we really didn’t like the idea of having our truck found while we were in there, we parked it in a ruined meth den roughly two miles from the access point; rammed it in-between the buildings and prayed for the best as we set off across the desert with our camera gear. As we neared the gate, security was doing their patrol. We saw the headlights and dove behind some knee-high sage bushes, turning around the bush as they went past like a Scooby-Doo cartoon. When they had passed, we ran like hell and threw my Mom’s clearly expensive bathroom towel borrowed from the Vegas pad over the barbed wire. Once over, we booked it for the first plane we could see, a massive United Airlines 747.
This first fat boy was a cargo freighter (maybe converted?) and the ladder was down. It was pretty stripped out inside and not very interesting. We exited and saw the next plane in the row – a British Airways 747! Someone asked for my truck keys and popped the hatch behind the landing gear – up we went. Inside, it was sticky and hot and awesomely intact.
There were endless planes of all sorts, learjets, FedEx planes, little short-flight hoppers and massive military cargo aircraft. It was a wicked playground.
On time for
It was a long night. We must’ve gone in six or seven planes. We photographed dozens. We saw hundreds. At some point we realised there was a security guard inside the fence as well and had to hide in landing gear a few times. It was the most fun I have ever had in the United States.
Hiding from security
The tail end of an
The Boneyard was like nothing I have ever experienced – it was massive, pristine and surreal. We had a great time there and I would love a revisit, especially given we only went in something like 2% of the planes there. Then again, I hear there’s a much bigger one in Arizona that has a space shuttle in it…
London Consolidation Crew. 2011. All up in your military base.
History is a social form of knowledge; the work, in any given instance of a thousand different hands. -Raphael Samuel
Art & Artefact
As many Place Hacking readers will know, I have been doing doctoral research on urban exploration for the past three years. With my PhD coming to a close soon, it seems like everything is coming full circle.
I am proud to announce the release of my new article in the journal Environment and Planning D: Society and Space. Stuart Elden, the editor of the journal, has been very supportive of my work and has agreed to leave the article open access for one month so everyone outside the Ivory Tower can read it. And I hope you will. This article was two years in the making and attempts to address one of the most significant aspects of urban exploration – our engagements with history through the practice.
The Society and Space journal has donated a fair number of its pages this year to urban exploration. In June, they published a piece by Luke Bennett on ‘Bunkerology‘ which Professor Elden has also made open access for the next thirty days. I then wrote a response to Bennett’s paper and he replied. These debates are worth reading in the context of my new paper, as they tell very different stories, ostensibly about the same practice.
The last thing I will mention is that if you head back to my Hobohemia Video Triptych post from July, you will find the video footage from the excursions discussed in the Society and Space paper.
On a final note, thank you again to everyone I have explored with in the past few years. This paper is of course in many ways co-authored with you all and would not have been possible without your enthusiasm, support and friendship. As always, I am honoured to be the scribe for the tribe.