Salvage rites: making memory on a Montana homestead

The preservation of selected sites and artefacts privileges certain forms of cultural memory. Other material cultures, no longer useful and deemed unworthy of preservation, accumulate in overlooked places. Abandoned in a state of unfinished disposal, these objects and structures can generate unpredictable and unruly effects. Such degraded materialities may trigger apprehensions of cultural memory in a mode unfamiliar to the museum or the heritage park. This study takes up the residual material culture of a homestead in Western Montana to explore how history and memory are made, and remade, through interactions between people and things. Theories of performativity and intersubjectivity inform a move away from a broadly representational or semiotic understanding of material culture. In this study, experimental methodologies access the different ways in which material engagements animate the potential effects of a given artefact. One approach explores the potential for inclusive, artful inventory practice. Another engages in a process of associative storytelling which assembles disparate objects in constellations of meaning. A third approach observes the way in which sensory or haptic memory arises out of embodied action and practical reclamation. Finally, the thesis considers the nature of cultural memory and the processes of decay that obscure certain residues of knowledge even as they expose others. In conclusion, the thesis considers the social and political implications of such non-essentialist encounters with memory and materiality. The thesis argues that these active, creative encounters with objects open up the possibility for an ethical relation to the past-a salvage both of cultural artefacts and of overlooked histories

Identifying Opportunities for Integrated Adaptive Management of Heritage Change and Transformation in England: A Review of Relevant Policy and Current Practice

This report aims to summarise relevant statutory frameworks and policy guidance from the assumed perspective of an owner or manager anticipating the challenge of managing unpredictable (and sometimes inevitable) change to the form and fabric of designated heritage assets. In doing so it contributes to the development of the concept of adaptive release, defined as an active decision to accommodate the dynamic transformation of a heritage asset and its associated values and significance. The scope of the report is limited to assets and landscapes with statutory designations in England, with a focus on the way in which current policy and legal frameworks may constrain or facilitate decision-making around the accommodation of adaptive release and similar approaches

Heritage Futures

Heritage Futures is a four-year collaborative international research programme (2015–2019) funded by a UK Arts and Humanities Research Council (AHRC) ‘Care for the Future’ Theme Large Grant, and supported additionally by its host universities and partner organisations. The research programme involves ambitious interdisciplinary research to explore the potential for innovation and creative exchange across a broad range of heritage and related fields, in partnership with a number of academic and non-academic institutions and interest groups. It is distinctive in its comparative approach which aims to bring heritage conservation practices of various forms into closer dialogue with the management of other material and virtual legacies such as nuclear waste management. It is also distinctive in its exploration of different forms of heritage as future-making practices. This brief paper provides an introduction to the research programme and its aims and methods

Heritage Futures

Preservation of natural and cultural heritage is often said to be something that is done for the future, or on behalf of future generations, but the precise relationship of such practices to the future is rarely reflected upon. Heritage Futures draws on research undertaken over four years by an interdisciplinary, international team of 16 researchers and more than 25 partner organisations to explore the role of heritage and heritage-like practices in building future worlds. Engaging broad themes such as diversity, transformation, profusion and uncertainty, Heritage Futures aims to understand how a range of conservation and preservation practices across a number of countries assemble and resource different kinds of futures, and the possibilities that emerge from such collaborative research for alternative approaches to heritage in the Anthropocene. Case studies include the cryopreservation of endangered DNA in frozen zoos, nuclear waste management, seed biobanking, landscape rewilding, social history collecting, space messaging, endangered language documentation, built and natural heritage management, domestic keeping and discarding practices, and world heritage site management. 'I suspect this book will prove to be a revolutionary addition to the field of heritage studies, flipping the gaze from the past to the future. Heritage Futures reveals the deep uncertainties and precarities that shape both everyday and political life today: accumulation and waste, care and hope, the natural and the toxic. It represents a uniquely impressive intellectual and empirical roadmap for both anticipating and questioning future trajectories, and the strange, unfamiliar places heritage will take us.’ - Tim Winter, University of Western Australi

Heritage Futures

Preservation of natural and cultural heritage is often said to be something that is done for the future, or on behalf of future generations, but the precise relationship of such practices to the future is rarely reflected upon. Heritage Futures draws on research undertaken over four years by an interdisciplinary, international team of 16 researchers and more than 25 partner organisations to explore the role of heritage and heritage-like practices in building future worlds. Engaging broad themes such as diversity, transformation, profusion and uncertainty, Heritage Futures aims to understand how a range of conservation and preservation practices across a number of countries assemble and resource different kinds of futures, and the possibilities that emerge from such collaborative research for alternative approaches to heritage in the Anthropocene. Case studies include the cryopreservation of endangered DNA in frozen zoos, nuclear waste management, seed biobanking, landscape rewilding, social history collecting, space messaging, endangered language documentation, built and natural heritage management, domestic keeping and discarding practices, and world heritage site management. 'I suspect this book will prove to be a revolutionary addition to the field of heritage studies, flipping the gaze from the past to the future. Heritage Futures reveals the deep uncertainties and precarities that shape both everyday and political life today: accumulation and waste, care and hope, the natural and the toxic. It represents a uniquely impressive intellectual and empirical roadmap for both anticipating and questioning future trajectories, and the strange, unfamiliar places heritage will take us.’ - Tim Winter, University of Western Australi

Broad Down, Devon: archaeological and other stories

publication-status: PublishedThis is a post-print, author-produced version of an article accepted for publication Journal of Material Culture, 2010, Vol. 15, Issue 3, pp. 345 - 367. Copyright © 2010 SAGE Publications. The definitive publisher-authenticated version is available online at http://mcu.sagepub.com/content/15/3/345.shortThis article explores the knowledge construction process of an archaeological site in East Devon, UK. Bouncing off an oral historical account of the site that seems to run against scientific truth claims, the author investigates the story of how knowledge of the site has developed over the last two centuries. Building on previous work that explores the history and practice of archaeology, the article opens up questions of what counts as evidence. Then, taking a cue from more recent work that suggests a more dynamic and open-ended engagement with the landscape, the article turns to examine how the meaning of a site can be made and remade. As part of this endeavour, questions of what as well as who can ‘speak’ are examined and some space is opened up for the agency of ‘minor figures’, both human and non-human

A future for Hashima: pornography, representation and time

This article sets out to investigate the relationship between ruins, futurity, and ‘ruin porn’ - a visual mode of representation that all too often seeks to fix post-industrial ruins as mere aesthetic objects, devoid of history and/or temporality. It does so by focusing on performance, which, in this context, is understood as a processual mode of art-making that provides spectators with an experience of time. In this expanded definition of performance, as one may perhaps expect, the performativity of the object is not limited to the theatrical event alone; rather, it now inheres in sometimes uncanny durational aspects of both still and moving images. The essay proceeds in three stages. Part one provides a historical and theoretical overview of the type of performance inherent in ‘ruin porn’; part two critiques two images from Yves Marchand's and Romain Meffre's Gunkanjima (2013), a photo album that attempted to document the ruins of Hashima, an island situated 15 kilometres from Nagasaki City in the East China Sea; and part three investigates the very different aesthetic at work in Lee Hassall's film Return to Battleship Island (2013) which was made in response to AHRC- funded project, ‘The Future of Ruins: Reclaiming Abandonment and Toxicity on Hashima Island’ (2013). In this reading of Return to Battleship Island , the onus is on showing how Hassall's film, in its representation of Hashima's crumbling apartment blocks and industrial buildings, intentionally sought to contest the atemporal logic of ‘ruin porn’ by attempting to endow the viewing experience with a sense of futurity. Crucially, this does not mean that film represented the future as an object, but, on the contrary, tried to make it palpable, as something one undergoes physically in the very act of reception

Experiencing visualities in designed urban environments: learning from Milton Keynes

In many discussions of how cities in the global North are changing, the growing importance of urban design is emphasised: that is, the production of visually and spatially coherent urban buildings and spaces seems to be increasingly central to urban change. To date, most attention has focused on exploring the reasons for this shift. Much less attention has been paid to the experiences of the people inhabiting and using such designed spaces. Although many authors acknowledge that, in theory, such encounters between human subjects and designed urban environments are richly various and unpredictable, few studies have examined this empirically and learnt theoretically from these encounters. Drawing on fieldwork undertaken in the British city of Milton Keynes—the centre of which is a shopping mall, a designed environment par excellence—the authors argue that understanding experiences of contemporary urban change requires a relational and performative understanding of environmental encounters, and they suggest three intertwined implications for rethinking research on urban aesthetics: first, a multimodal and sensuously embedded understanding of vision; second, a practice-centred understanding of the environment; and third, a need for self-reflexive understanding of the researchers’ position in the fieldwork