Nicholas Hedges

Art, Writing and Research

Lines Drawn in Water

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The following passage is taken from ‘The Old Ways: A Journey on Foot’ by Robert Macfarlane. In a chapter on water he writes:

“The second thing to know about sea roads is that they are not arbitrary. There are optimal routes to sail across open sea, as there are optimal routes to walk across open land. Sea roads are determined by the shape of the coastline (they bend out to avoid headlands, they dip towards significant ports, archipelagos and skerry guards) as well as by marine phenomena. Surface currents, tidal streams and prevailing winds all offer limits and opportunities for sea travel between certain places…”

This reminded me of some work I did on my ancestor Stephen Hedges who was transported to Australia in 1828. In particular I thought about the route The Marquis of Hastings (the ship on which he sailed) took from Portsmouth to Port Jackson (Sydney) which I mapped using Google Earth and coordinates written down in a logbook by the ship’s surgeon, William Rae.

Macfarlane also writes:

“Such methods would have allowed early navigators to keep close to a desired track, and would have contributed over time to a shared memory map of the coastline and the best sea routes, kept and passed on as story and drawing…

Such knowledge became codified over time in the form of rudimentary charts and peripli, and then as route books in which sea paths were recorded as narratives and poems…

To Ian, traditional stories, like traditional songs, are closely kindred to the traditional seaways, in that they are highly contingent and yet broadly repeatable. ‘A song is different every time it’s sung,’ he told me, ‘and variations of wind, tide, vessel and crew mean that no voyage along a sea route will ever be the same.’ Each sea route, planned in the mind, exists first as anticipation, then as dissolving wake and then finally as logbook data. Each is ‘affected by isobars, / the stationing of satellites, recorded ephemera / hands on helms’. I liked that idea; it reminded me both of the Aboriginal Songlines, and of [Edward] Thomas’s vision of path as story, with each new walker adding a new note or plot-line to the way.”

One of the things I like about William Rae’s logbook of the journey aboard the Marquis of Hastings is the description of the weather. The world aboard a prison ship in 1828 is far removed from our experience, but we know weather and can therefore use his descriptions to bridge the gap between now and then; moving from – to use Macfarlane’s words – “logbook data” through “dissolving wake” and “anticipation,” all the way back to “planned in the mind.” The description of the weather therefore becomes a poem of sorts, echoing what Macfarlane writes above; how sea paths become narratives and poems, allowing me to step back into the mind of my ancestor.

Fresh Breeze. Mist and rain.
Strong Breeze. Cirro stratus. Horizon hazy.
Hard gale & raining. Heavy Sea.
Hard rain & Violent Squalls. Hail & rain.

Click here for a PDF transcript I made of the journey.

Map Work

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I’ve almost completed my map of observations made during a number of walks over the past few weeks and am now looking to see how I can progress this line of work.

The paper shown above has started to soften, from being carried for so long in my pocket and being held in my hand as I walk. It’s started to feel almost like material. I like the way too that it’s acquired those tell-take signs of wear and tear; dog-eared corners, rips and holes and creases.

On the reverse, you can see the selotape used to keep it all together, indeed there is something about this side which I really like.

I like the idea of these pieces becoming maps of individuals rather than just a place, while at the same time representing people as places – or at least the product of places. I like the idea of them becoming patterns, such as clothing patterns, again giving a sense of the individual.

Another part of this process has been the recording of my walks using GPS. I have, for this work, been putting them all together in one image.

In our minds, when we think about our own past journeys, there is little sense of space, i.e. the physical space between the places in which we made those journeys. Everything is heaped together. Time, like physical space is also similarly compressed. All the walks I’ve made for this work therefore are heaped one on top of the other, with little regard to their geography or temporality. The past with which I seek to identify is also like this. Geography and time are compressed. Everything is fragmentary.

In any given place – for example, Oxford – we can, as we walk down an ancient road, follow the (fragmentary) course of a life lived centuries ago. But walking down another road, we turn and pick up the fragment of another life. And so on and so on.

It is this fragmentary nature of past time, and its compression of time and space, which makes it sometimes hard of for us to empathise with anonymous individuals who lived in the distant past. To make sense of the fragments, we need to see them in the context of the present – in the nowness of the present. By doing this, we can begin to unpick these matted strands of time and space.

History is the attempt to make sense of the fragments left behind by time – to construct a narrative of events with a beginning and an end. It has a point A and a point B, between which the narrative weaves a path, much like a script, novel or score. What I’m interested in however are those fragments, not as parts of a narrative progression, but as fragments of a moment in time – a moment which was once now. As I’ve written before:

Access to the past therefore comes…  through the careful observation of a part in which the whole can be observed. As Henri Bortoft writes in The Wholeness of Nature – Goethe’s Way of Seeing; ‘…thus the whole emerges simultaneously with the accumulation of the parts, not because it is the sum of the parts, but because it is immanent within them’.

Consider the span of an hour, and imagine a city over the course of that hour with everything that would happen throughout that period of time; history with its refined narrative thread, is rather like a line – a route – drawn through a map of that place. The line delineates space (in that it starts then ends elsewhere) but we know nothing of what happens around it – the mundane, everyday things which make the present – now – what it is. In my walks I capture moments, observations of mundane things happening around me as I walk.

For example:

A man talks holding his hat
A flag flies, fluttering in the growing wind
The next bus is due
A car beeps
Amber, red, the signal beeps
The brakes hiss on a bus

One could argue that these observations still represent a linear sequence rather than being fragments of a single moment in time. However, reading them, one does get a sense of the nowness of the past. The route as drawn by the GPS represents the narrative thread (history) whereas the text represents the individual moments from which the narrative is constructed.

Imagine if someone had done the same in 1897 at the time of last Diamond Jubilee.

A man talks holding his hat
A flag flies, fluttering in the growing wind
Suddenly, 1897 would seem there within our grasp. We could take any observation and extrapolate the wider scene around it. Below is a photograph taken in Oxford in 1897.

© Oxfordshire County Council

We get a sense of the nowness of a past time from images such as that above, but as Roland Bathes states, time in photographs is engorged. It doesn’t move. With the work I’ve made above however, the immediacy of a past time is captured, but, unlike photographs, is fluid. And it is this fluidity which is crucial to an empathetic engagement with the past. For the nowness of the present isn’t static, but rather flows within us and around us.

The following text from Robert Macfarlane’s ‘The Wild Places,’ interested me a great deal in light of what I’ve written:

“Much of what we know of the life of the monks of Enlli and places like it, is inferred from the rich literature which they left behind. Their poems speak eloquently of a passionate and precise relationship with nature, and of the blend of receptivity and detachment which characterised their interactions with it. Some of the poems read like jotted lists, or field-notes: ‘Swarms of bees, beetles, soft music of the world, a gentle humming; brent geese, barnacle geese, shortly before All Hallows, music of the dark wild torrent.'”

GPS Pot

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Just as I’ve been working using stitched fragments of canvas (to convey the idea of the past as being a reimagined collection of pieces ‘stitched’ together in the mind) I’ve also started using pottery; creating pots and cracking them, using lines based on GPS data.

The vocabulary of the ‘find’ is what interests me; the fragments of movement (which the shards of pottery reflect) reassembled to create an approximate whole. It’s new work and the following images are first attempts (the pieces have yet to be dried and reassembled) using a coil pot built with self-drying clay.

No doubt subsequent pieces will be much more refined, using bigger pots and more detailed GPS data.

GPS Pot

Stitched Trench Maps II

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I completed my first three stitched ‘trench maps’ today and have popped them in frames ready to be exhibited in Luxembourg. Ideally they wouldn’t be in frames at all and would be presented on a much large scale, but as first versions go I’m pleased. Certainly I can see how I would like to progress them, adding more layers to create kinds of palimpsests.

Fragment: GPS to Midi

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I’ve been looking for a way of converting GPS data to midi as part of a project based on a fragment of mediaeval pottery which I found in the Museum stores at Standlake in Oxfordshire. The GPS data derives from a walk I made around the area where the pot was discovered during an excavation in 1986 (St. Aldates in Oxford).

Part of the project articulates the idea of the pot’s creation (on a potters wheel) by using a turntable on which a vinyl record will play a fragment of an audio piece, the rest being composed of silence (or at least the crackle of the vinyl). The idea for the audio composition was to create something using GPS data. But how could this be turned into midi information?

The image below shows the route recorded on my GPS device.

Fragment Sound Walk 01 Garmin

Originally, I’d coverted the data into midi (via photoshop) as in the image below, but the result was too complicated, and not a little messy.

Fragment Sound Walk 01 Midi

It was whilst considering how one makes paper snowflakes, that I went from cutting holes in a fragment of paper to the holes of old piano rolls. What I needed was something which was more like this. Instead of trying to copy the line of the walk completely therefore, I have instead blocked in notes where there are points on the GPS map as in the images below.

Firstly, in Photoshop, I combine a screenshot of the map with one of the midi inspector in Cubase.

Fragment 1

Then, where there’s a circle on the GPS line, I create a note in the nearest ‘box’.

Fragment 2

The result, when compared with my earlier attempt is now much neater and easier to work with.

Fragment 3

Completed Walks

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During the first week of this residency, I carried out a number of walks, the routes of which I recorded using GPS.Collecting all these walks together, I created a map of all the walks which can be seen in two images below. The first shows the pattern as revealed in the GPS software, the second in Google Earth.

Final Map of Walks

all as of 05-11-10

The next phase for this work is to divide the the first image into segments, each of which can then be tranferred to heavyweight tracing paper, after which the lines will be cut and the pieces left behind (i.e. the spaces in between the walks) transferred to canvas.

Big Ships on the Horizon

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The big coal ships have fascinated me ever since I first saw them when I arrived in Newcastle. Like the huge clouds above them, they seem on the face of it not to be moving, but rather – like a photograph – fixed in their shape. Only over a period of time, as one watches, do the ships reveal themselves as moving, changing their course, just as the seemingly immutable clouds change their shape.

Coal Ships - Video Stills

The past too is like this. It appears to us fixed in its final shape by history, but when we observe at length we begin to see things differently – just as with the ships and the clouds, the past changes shape not unlike the way the present constantly changes its shape around us; because the past was once the present.

I have for a long while been interested in old photographs, in the distant parts of photographs where things are not the ‘subject’ of the picture. For example, the image below is a detail from a holiday snap taken some time in the early 1980s. I’ve no idea who the girl is and only noticed her when I enlarged the image.

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Merleau-Ponty once wrote how distance was not a property of the horizon, and distance too – we might say – is not a property of those people occupying the background of these photographs. They are – or were – as much a part of the scene as those of us in the foreground – the subjects of the photograph. We are always as much a part of the distance and the foreground as everyone else; we are both these things at one and the same time. In terms of history, we in the present are like the subject of a photograph, and those in the past are like those in the distance. Everything is the same part of the present, just seen from different perspectives.

The past is as much about movement as is the present (just as the distance contains as much movement as the foreground) and to observe this movement in the past (or the distance) requires us to be patient – to watch and to listen.

It is interesting that watching and listening to the distance has become a theme during my residency here, and that the image above – a video still of the ships and the sky – was filmed from Shepherd’s Point, a place from which the Services would listen and watch for the enemy during World War 2.

Landscape DNA: The Simultaneity of Stories-So-Far

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The Past is Time without a ticking clock. A place where paths and roads are measured in years. The Present is a place where the clock ticks but always only for a second. Where, upon those same paths and roads we continue, for that second, with our existence.
In 2006 I visited Auschwitz-Birkenau and since then have visited camps at Bełżec, Majdanek and Natzweiler-Struthof, as well as the battlefields of Ypres, Verdun and more recently, The Somme. All these sites present the visitor with numbers: 1.1 million dead at Auschwitz-Birkenau, 500,000 at Bełżec, 79,000 in Majdanek. At the start of the Battle of the Somme, on 1st July 1916, British and Commonwealth forces sustained 57,000 casualties, with almost 20,000 men killed in action on that day alone. These are all horrific statistics, but numbers rather than people and over the course of the last few years, I’ve looked for ways of identifying with the individuals behind the grim tolls. The tolls are only estimates, and the individuals to whom they allude have become themselves ‘estimates of existence’. Most have left nothing behind; no name, possessions, or photographs. Photographs, where they exist, are often nameless, names on graves are faceless, so how can we know them at all?
One of the most difficult things about my visit to Auschwitz-Birkenau was walking out the gate, performing an action that more than a million people could only ever dream about – if they had the time; most were killed within hours of their arrival. At Bełżec, the memorial to the dead is – in the main – a walk around the perimeter of where the camp once stood. During my visit in 2007, I recorded the walk using a GPS receiver and the fact that I, as an individual, one of several billion people on the planet, could be tracked in this place where half a million people perished, proved particularly resonant. The concept of walking as a means of remembering began to take hold in my work, evolving over time to become a means of empathising – in some small way – with those who’d perished.
In the book Walking, Writing and Performance by Deirdre Heddon, Carl Lavery and Phil Smith, artist Carl Lavery states the following:
“…pedestrian performance is a mode of resistance against the acceleration of the world, a desire, on the part of performance makers, to re-humanise space by encouraging spectators to experience the environment at a properly human pace, the bodily beat of three miles per hour. Implicit in this argument is the belief that walking is conducive to the production of place, a perfect technique for merging landscape, memory and imagination in a dynamic dialogue. Or as Michel de Certeau would have it: ‘The act of walking is to the urban system what the speech act is to language…’.”
In the passage quoted above, I was struck by the idea, as Lavery puts it, of “encouraging spectators to experience the environment at a properly human pace.” Merging landscape, memory and imagination (for which purpose, according to Lavery, walking is the perfect technique) has become central to my work. It’s also something I’ve done quite naturally since I was a child. For me, places have always been a conflation of these things, and as such, quite unique to me.
When I visit historic sites, landscape, memory and imagination merge to create something akin to what others have termed post-memories; ‘memories’ of events of which we can have no real recollection – in particular events that happened before we were even born. How this happens is something which has interested me throughout my research. A kinaesthetic engagement with a place, and our sense of the present are, it seems, both important in this regard.
Finally in the paragraph quoted above, I was struck by the words of Michel de Certeau; the idea that ‘the act of walking is to the urban system what the speech act is to language,’ reminded me very much of what I’ve read before in the work of Christopher Tilley, who in his book The Materiality of Stone – Explorations in Landscape Phenomenology, writes that ‘If writing solidifies or objectifies speech into a material medium, a text which can be read and interpreted, an analogy can be drawn between a pedestrian speech act and its inscription or writing on the ground in the form of the path or track.”
The idea of a path as ‘text’ is something which appeals to me; the notion that as we walk we ‘write’ ourselves in the landscape has a particularly poetic resonance. In his book Lines, a Brief History, Tim Ingold writes that “human beings leave reductive traces in the landscape, through frequent movement along the same route…”. The Old English word writan he tells us, meant to ‘incise runic letters in stone,’ and a  correlation can therefore be drawn between the act of walking and writing; a path is something written over years by many different people, incised into the landscape.
Just as when we speak we re-use the same words spoken over centuries – for example fragments of long forgotten conversations – so when we walk, we re-use fragments of other people’s ‘texts’, ‘written’ into the landscape. In this sense, we speak with our bodies words that other bodies have spoken or written before us. As Ingold notes: “retracing the lines of past lives is how we proceed along our own.”

In 2007, the year before she died, my grandmother told me about her childhood in Wales. The following is an extract from that conversation in which she describes her father, Elias Jones, who died in 1929, aged 47, as a result of working in the mines:

‘I can see him now because he went up our garden over the road and the mountain started from there up… and he’d go so far up and he’d turn back and wave to us…’

On visiting Hafodyrynys, the village where my grandmother grew up, I walked up the ‘mountain’ she’d described and followed the path my great grandfather would have taken to work in the mines at Llanhilleth. On top of the hill I turned and looked back down at the garden, imagining my grandmother and her siblings waving back at me from the past. Further on, I stood and looked at the view, rolled out all around me. A hundred years ago I thought, when I did not exist, he would have seen the very same thing. A hundred years later, long after his death, I found myself – through being in that place – identifying with him: I’d found him on the path – one which would in time lead to my being born.
Elias Jones, through frequent movement along that path had written himself into the landscape. A hundred years later, I was – through articulating my own presence through walking –  reading part of that text; speaking with my own body his simultaneous presence and absence. In many ways, I was speaking my own presence and absence too.
During that visit, I realised that as well as being a product of the ‘genetic text’ passed down the generations through a myriad number of genealogical lines, we are as much the consequence of pathways walked by every one of our ancestors. DNA is text – a kind of narrative sequence – and the paths which have led to our individual births are a vast text written across the landscape: self and environment, to borrow from Lavery, are umbilically connected.
People are therefore, in a sense, places, and in his book, Lavery quotes Mike Pearson, a performance maker and theorist who states that: “just as landscapes are constructed out of the imbricated actions and experiences of people, so people are constructed in and dispersed through their habituated landscape: each individual, significantly, has a particular set of possibilities in presenting an account of their own landscape: stories.”
Another passage in the book which interested me was that regarding the geographer Doreen Massey. Lavery writes how she offers a ‘conception of space that is interrelational, multiple and always under construction. In her book, For Space, she describes it [space] as ‘the dimension of multiple trajectories, a simultaneity of stories-so-far’.”

I like the idea of space being a ‘simultaneity of stories-so-far’, and it interested me insofar as it rang a bell with some thoughts I’d had previously regarding our own perception of the past. The following is taken from a piece I wrote on the nature of history:

The past is often perceived much like the strata of a rock-face, wherein successive layers of geological time can be seen. We see the past as being built from the ‘ground up’ day upon day, year upon year, century upon century, like bricks in a wall. The problem with this ‘model’ however is that it makes the past difficult to access, the lines dividing each and every moment become like barriers inhibiting our movement between one and the other, particularly where one part is stacked so far below our own in what we perceive as being the present day. Another problem with this way of perceiving the past is that the layers necessarily contain objects, buildings and landscape features which, because of their age, appear in several different layers almost as if they were different things. For example, an object made a 100 years ago, would appear in each of the layers in the diagram below (see Figure 1). It’s rather like someone creating an animation, who draws the same scene a thousand times because it appears in a thousand frames, rather than using the same picture throughout them all.

Figure 1

Whilst thinking about this and while considering the fact that any extant object, building or landscape feature, no matter what its age is always present, I realised that a better model for perceiving the past is one which turns the model above on its side – if not quite its head. Subsequently (see Figure 2), what we have is not a series of horizontal strata representing stacked moments in time (days, months, years, centuries etc.), but concurrent vertical lines, or what I have called ‘durations’ where each duration is an object, building or landscape feature and where the present is our simultaneous perception of those that are extant (of course, in the case of buildings, individual ‘objects’ can also contain many separate durations).

It was Bill Viola who said that ‘we have been living this same moment ever since we were conceived. It is memory, and to some extent sleep, that gives the impression of a life of discrete parts, periods or sections, of certain times or highlights’. Similarly we can say that every object, building or landscape feature has existed in one continuous moment and that it is to some extent the passing generations which gives the impression of the past as being a series of ‘discrete parts, periods or sections, i.e., the perceived layers or strata of our previous – first – model.

Figure 2

These ‘durations’ as I have described them, are indeed ‘stories so far,’ which move, as if they are being told, at the speed of walking – at a ‘properly human pace’ as Lavery puts it.
Returning to the idea of walking as writing, it’s true to say that we don’t always leave a physical trace of our presence when we walk – or at least a visible, physical trace. But, poetically speaking at least, we do leave something behind and this something is often augmented by objects, buildings or landscape features which are contemporaneous with past individuals.
Whenever I visit sites of historic trauma (death camps and the battlefields of World War One), even if they’re empty, I feel as if they’re full; not in a spiritual or pseudo-spiritual sense, but physically, as if they’re full of sculptures. Sculptor Antony Gormley describes his work as ‘confronting existence’ and that, in part, is what we do in places such as Auschwitz; death is, after all, another kind of existence. Walking itself is a means of confronting existence, being as it is a line drawn between absence and presence – just as I’d found in Wales.
“Part of my work,” Gormley writes, is to “give back immanence to both the body and art.” For archaeologist, Colin Renfrew, Gormley is “speaking of the existence of the individual, and the coming into being and self-awareness of the individual as the inhabitant of his or her body.” In reading these quotes, I began to see that the sites of trauma I’d visited, as well as those places relevant to my own family history, were full of what I can only describe as invisible sculptures – sculptures of absence, the physical presence/immanence of all who’ve gone before.
Gormley’s work comprises, in part, casts of his own body which reminds Renfrew of the bodies found in Pompeii; men, women and children frozen at the moment of their death almost 2000 years ago. Buried in ash, the spaces which had once contained their bodies remained after the bodies had decomposed, allowing archaeologists, to use them as moulds by pouring plaster into the cavities.
In light of this, I was reminded of the work of Christopher Tilley, who in his book, ‘The Materiality of Stone, Explorations in Landscape Phenomenology’ writes: “The painter sees the tree and the trees see the painter… in a manner comparable to that in which the mirror ‘sees’ the painter: that is, the trees, like the mirror, let him become visible: they define a point of view on him which renders visible for him something that otherwise would remain invisible – his outside, his physiognomy, his carnal presence… The trees and mirror function as Other.”
Just as the trees function as ‘Other’ therefore, so must the sun, the stars, the clouds, hills, mountains, the sea, rivers, the wind, the rain and so on. And in a sense, what Tilley is describing as Other, which ‘renders visible for him… his carnal presence,’ is a sense of being present in the present-day world.
In the book Walking, Writing and Performance, Lavery writes:
“…during… Mourning Walk I was aware of living more in the past than in the present. However at no time did this immersion in memory result in psychic saturation or disintegration. The natural world – the world of trees and stones – was stubbornly present and insisted on maintaining its autonomy and distance.”
When trying to access the past through walking, an awareness of the present – of being present in the world – is vital, and the natural world – the world of trees and stones – does that for us. Understanding the fact that the past was once the present, helps us in some small way to empathise with those lost to the past.
The present moment is a space, one which lasts only for a second – a space comprising the simultaneity of what Doreen Massey calls ‘stories so far’ or what I have called ‘durations’. And it’s in that space that life happens. Behind us and in front, beyond the physical boundaries of that second we are absent. The text is written, or yet to be written – the present being the moment of writing. Gormley’s sculptures then articulate this line between presence and absence, past and present.
In that space, in which we continue with our existence, we hear the birds, we see the sun, feel the wind and rain. In that space, all our hopes are held, all our fears and regrets. Into the space we carry our past in the form of memories. It’s the space of the everyday – one which we often take for granted. But it’s a space we share with everyone who’s ever gone before us.

Again, in his book, Lines. A Brief History, Tim Ingold tell us that:

‘…from late Antiquity right through to the Renaissance writing was valued above all as an instrument of memory. Its purpose was not to close off the past by providing a complete and objective account of what was said and done, but rather to provide the pathways along which the voices of the past could be retrieved and brought back into the immediacy of present experience, allowing readers to engage directly in dialogue with them and to connect what they have to say to the circumstances of their own lives. In short, writing was read not as a record but as a means of recovery.’

This paragraph has something in common with what I described earlier, the idea that just as when we speak we re-use the same words spoken over centuries – fragments of long forgotten conversations – so when we walk, we re-use fragments of other people’s ‘texts’, ‘written’ into the landscape. Walking becomes a means of recovery, where the past can be retrieved and ‘brought back into the immediacy of present experience’. As on the ‘mountain’ in Hafodyrynys, it’s  a means of engaging in a dialogue with those who’ve gone before us, and nowhere is this more keenly felt that in places of historic trauma.

It’s as if when walking through these places, we pick up – at random – the threads of other people’s texts. We tie them together, filling in the gaps with our own story. It’s rather like the film Jurassic Park, where dinosaurs are cloned using DNA extracted from mosquitoes frozen in amber. The gaps in the code are filled with modern frog DNA, creating a ‘modern’ dinosaur. Earlier, I stated that people were as much the product of places, and it figures therefore that places are as much the product of people; that the ‘DNA’ of any place comprises narrative lines laid down by everyone who’s ever been there. When we walk, we create new places based on the present day landscape. Our memory and memories, history and of course our imaginations all have a part to play. Within our imagination, we take with fragmentary strands of the landscape’s own ‘DNA’ (or history) and fill the gaps with our own presence and memory. These constantly created spaces (created then destroyed every second) are unique to us, and yet we share them, in that single moment, with all who’ve gone before us, not as part of a crowd, but as one body and mind.

The ‘stubborn’ presentness which Lavery describes is therefore vital to our empathising with the past, and in many ways the most terrifying thing at Auschwitz was the way the trees moved in Birkenau (Auschwitz II), simply because they would have moved that way during the Holocaust.
The writer Georges Perec once wrote that “the desire to find roots, the determination to work from memories or from the memory, is the will above all to stand out against death, against silence.”
I work from memories and the memory and I’m actively engaged in searching for my roots. Is this then a will to stand out ‘against death, against silence?’ 
Again, in Walking, Writing and Performance, Lavery writes:  
“Is not all writing, all art, a response to a loss of some kind, an imaginative way of dealing with lack? …As I use it, the word recovery has nothing to do with re-experiencing the lost object in its original pristine state; rather, it designates a poetic or an enchanted process in which the subject negotiates the past from the standpoint of the present.”
This act of recovery is just the same as that which Ingold describes, where writing (in ancient times) was read not as a record but as a means of recovery. Walking as a means of ‘reading’ or ‘speaking’ the text of other people’s lives is a way of recovering a moment in the past; an ‘enchanted process’ to borrow from Lavery, where we ‘negotiate the past from the standpoint of the present.’
Empathy with the past therefore and in particular with individuals can be achieved, coming via a kinaesthetic response to the present mediated through memory and our embodied imaginations.

The Narrative Line

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With my GPS, I traced the route we know the Gentleman’s Servant took across Magdalen Bridge up into modern day Cowley Road.  It was hard to imagine the scene in 1770 when the road would have been much quieter. Cars, buses and motorbikes were everywhere, the sound of their engines blocking out almost everything else.

But nevertheless, as I walked, I tried to take in everything around me, to capture all that made the present moment what it was, for even though the same place in 2010 is light years away from what it was 240 years ago, nevertheless, when the stranger rode over the bridge on December 12th 1770, it was something which for him was happening in the present. Now this might sound an obvious thing to say, but often when we read about the past, it’s almost as if we’re reading a fiction – a story which has a beginning, a middle and an end, and in which the characters follow a proscribed route laid down by the author: the narrative line in this instance comprises the text which makes up the tale. Of course life isn’t like this. When we walk, even if we’re going somewhere particular, we walk without knowing what may lie ahead of us. We might well know where we’re going, but how we’ll get there exactly, and what will happen as we travel, is something we only discover in the present moment.

As I wrote as part of a recent exhibition:

The Past is Time without a ticking clock. A place where paths and roads are measured in years. The Present is a place where the clock ticks but always only for a second. Where, upon those same paths and roads we continue, for that second, with our existence.

I want to read history in terms of its seconds – the small spaces within which life really happens. Every second in the present day – every moment – is a lens through which we can glimpse the past, no matter how distant it is. The more we know about the past (in particular the ‘geography’ of whatever we’re researching) the better the picture. But something in the space of every second reminds us, that what happened in the past happened in what was then a present just like ours; something as a simple, for example, as trees blowing in the wind.

The narrative line is like a piece of text; we follow it as we follow the words of a sentence, putting one foot in front of the other. But reading between the lines, we fill the gaps with what we see and experience around us. We are reminded that the stranger was moving all those years ago, unaware of what might lay before him. We become aware that he could feel the wind on his face, that he could see the sky, the river flowing beneath the bridge. And as we think, we realise that he himself was thinking, as was everyone around him – and this is the key to answering the questions I posed at the beginning of this project.

Every second the stranger rode along that line, he was part of a complex web of connections. These moments comprising his story were moments in many others – countless stories in a plot more complex that we can  imagine. The more we know about these moments, the more we can picture the scene and all who lived at the time, the better the chance we have of finding answers.

As I walked the length of the line, I looked to my right and glimpsed the 17th century gateway to the Botanic Gardens, and in that gesture, I found a connection with the stranger. The gateway is a witness to the moment I’m researching, and looking at it is one way of asking it for an answer.

Days 13 and 14

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Spent much of the day (day 13) walking and painting paper cups. I did make a few attempts at reading through and recording the prose versions of the walks but I wasn’t happy with the results. I also played around with data, downloaded from my new GPS receiver: very exciting. I surveyed the route of my walk around the castle but twice lost satellite reception in Bulwarks Lane which is a bit frustrating. Anyway, all quite amazing really, especially viewing the data on Google Earth and, via GPS Visualizer on Google Maps too (even if it goes a little wayward once in the city centre).

That was yesterday. Today (day 14) I showed the work so far as part of the Research and Development module, itself a part of my MA. The response to the work was a mix of muted and positive, but as always I was intrigued by which pieces made the most impact. As with last semester, it was my drawings which most people identified with, followed I would say by the text pieces. The word ‘memorialising,’ was also used which is very apt for that which I am doing.

The key now is to start pulling all the facets of my work together, to make a whole, not by forcing a common theme, but by seeing why I have made these various pieces and discovering exactly what unites them.

© Nicholas Hedges 2006-18