Caitlin DeSilvey

Observed Decay: Telling Stories with Mutable Things

The degradation of cultural artefacts is usually understood in a purely negative vein: the erosion of physical integrity is associated with a parallel loss of cultural information. This article asks if it is possible to adopt an interpretive approach in which entropic processes of decomposition and decay, though implicated in the destruction of cultural memory traces on one register, contribute to the recovery of memory on another register. The article tracks the entanglement of cultural and natural histories through the residual material culture of a derelict homestead in Montana. In conclusion, the article suggests that deposits of degraded material, though inappropriate for recovery in conventional conservation strategies, may be understood through the application of a collaborative interpretive ethic, allowing other-than-human agencies to participate in the telling of stories about particular places.

Reckoning with ruins

Scholarly interest in ruins and derelict spaces has intensified over the last decade. We assess a broad selection of the resulting literature and identify several key themes. We focus on how ruins may be used to critically examine capitalist and state manifestations of power; we consider the way in which ruins may challenge dominant ways of relating to the past; and we look at how ruins may complicate strategies for practically and ontologically ordering space. We speculate about the motivations for this surge of current academic interest, draw out resonances with current trends in geographical thinking, and suggest directions for future research.

Making sense of transience: an anticipatory history

In climate change discourse the concept of anticipatory adaptation has emerged to refer to proactive strategies for preparing communities for future change. This paper makes a proposal for what might be called anticipatory history. At designated heritage sites prevailing narratives tend to project long-term conservation indefinitely forward into the future. These narrative formulations fall short when confronted with the impending transformation, or even disappearance, of landscapes and artefacts of cultural heritage – a process that is likely to become increasingly common with the acceleration of environmental change in coastal and other contexts. Might it be possible to experiment with other ways of storying landscape, framing histories around movement rather than stasis, and drawing connections between past dynamism and future process? At the core of this paper is an experimental narration of the history of a Cornish harbour. The narrative presents a reverse chronology of moments gleaned from diverse sources ranging over three centuries, looking to a fractured landscape past to find resources for encountering a future unmaking.

Salvage memory: constellating material histories on a hardscrabble homestead

The essay experiments with a process of recollection that moves associatively among the discarded material remains of a Montana homestead. Fragmentary objects and documents are brought into focus through their juxtaposition with each other, in an attempted recuperation of obsolete networks of use and affinity. A thread of oral history offers complement and counterpoint to the material histories. Shuttling between close description and critical reflection, the essay engages imaginatively with the cultural remembrance of private and public life in Depression-era Montana.

Spatial covariance between aesthetic value & other ecosystem services.

Mapping the spatial distribution of ecosystem goods and services represents a burgeoning field of research, although how different services covary with one another remains poorly understood. This is particularly true for the covariation of supporting, provisioning and regulating services with cultural services (the non-material benefits people gain from nature). This is largely because of challenges associated with the spatially specific quantification of cultural ecosystem services. We propose an innovative approach for evaluating a cultural service, the perceived aesthetic value of ecosystems, by quantifying geo-tagged digital photographs uploaded to social media resources. Our analysis proceeds from the premise that images will be captured by greater numbers of people in areas that are more highly valued for their aesthetic attributes. This approach was applied in Cornwall, UK, to carry out a spatial analysis of the covariation between ecosystem services: soil carbon stocks, agricultural production, and aesthetic value. Our findings suggest that online geo-tagged images provide an effective metric for mapping a key component of cultural ecosystem services. They also highlight the non-stationarity in the spatial relationships between patterns of ecosystem services.

Memory in motion: soundings from Milltown, Montana

Geographers have begun to investigate the link between creative production and cultural memory-work, exploring how art interventions frame and facilitate engagements with the past in place. This paper builds on this emerging area of enquiry to examine the transformation of an industrial river landscape in Western Montana, and the production of a sound artwork which attempted to respond to the landscapes unmaking with an interactive installation at a local museum. An interest in how cultural remembrance is practised and performed in relation to processes of material disarticulation guides the analysis. In conclusion, the paper proposes that a form of kinetic memory characterises engagement with ephemeral sites and the cultural productions they catalyse. The researchers involvement in the installation process opens up an adjacent discussion about geographical research conducted on, and through, contemporary art practice.

Visualising Sea-Level Rise at a Coastal Heritage Site: Participatory Process and Creative Communication

Abstract This paper describes a research project that aimed to translate complex spatial and scientific data about coastal change into accessible digital formats for general audiences. The project used fine-scale remote sensing techniques including airborne and terrestrial laser scanning to produce spatially accurate and realistic 3D digital visualisations of projected sea level rise at Cotehele Quay, a site on the River Tamar in Cornwall owned and managed by the National Trust. Area residents and stakeholders were involved in a series of focus groups which provided guidance on the integration of the spatial models into a short film. The paper focuses on how the participatory, iterative process adopted in the project shaped the content and design of the film. The paper concludes with a discussion of how this process enhanced the viability of the film as a communication tool for use in wider engagement activities.

Copper Places: Affective Circuitries

The frequent UK rail traveller is well-acquainted with ‘signal failures’ — delays can last minutes, or hours, and create domino stoppages down the line. These are moments of dead time, irritation, unwelcome adjustment of schedules and connections. In September 2010 the BBC reported a spike in copper thefts on the railways: thieves were stealing the signalling cables, risking their lives to sell the stolen copper on the recycled metals market. The thefts severed the circuits that send electricity and information along the rail network, exposing the usually hidden infrastructure that underpins the system.