Night walking: Darkness and sensory perception in a night-time landscape installation

Cultural Geographies

Volumn 18, Issue 3, 2011, Pages 315-342

  Morris, Nina J ^a  

^a UNIVERSITY OF EDINBURGH   (United Kingdom)

Author keywords

Darkness; Installation art; Isle of Skye; Landscape; Senses

Indexed keywords

ART; GEOGRAPHICAL KNOWLEDGE; LANDSCAPE; PERCEPTION; VISIBILITY;

HEBRIDES; HIGHLAND; INNER HEBRIDES; SCOTLAND; SKYE; UNITED KINGDOM;

EID: 79959908319     PISSN: 14744740     EISSN: None     Source Type: Journal    
DOI: 10.1177/1474474011410277     Document Type: Article

References (228)

1. R. MacFarlane, The Wild Places (London: Granta, 2007), p. 193.
2. Thoreau enthused, 'the scent is a more primitive inquisition than the eye, more oracular and trustworthy... The scent reveals... what is concealed from the other senses'. Cited in R. Giblett, 'Henry Thoreau: A Patron Saint of Swamps', excerpt from Postmodern Wetlands: Culture, History, Ecology (Edinburgh: Edinburgh University Press, 1996), (31 March 2011).
3. MacFarlane, Wild, p. 192.
4. R. MacFarlane, 'The Via Negativa', in A. Farquhar (ed.) The Storr: Unfolding Landscape: New Perspectives on Scotland's Land and Culture (2nd Edition) (Edinburgh: Luath Press, 2005), pp. 73-8.
5. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
6. American Optometric Association (n.d.), 'The Eye and Night Vision', (8 June 2010).
7. Minkowski (1993) cited in C. Bishop, Installation Art: A Critical History (London: Tate Publishing, 2005) p. 82.
8. Bishop, Installation.
9. M. Horlock, 'Knut Asdam Exhibition', 11 July-1 October 2000, Tate Britain, (24 September 2008).
10. see also K. Pullinger, 'The City is Mine', The Guardian, 22 January 2008, p. 4.
11. C. Vasseleu, Textures of Light: Vision and Touch in Irigaray, Levinas and Merleau-Ponty (London: Routledge, 1998).
12. M. Bille and T.F. Sørensen, 'An Anthropology of Luminosity: The Agency of Light', Journal of Material Culture, 12(3), 2007, pp. 263-84.
13. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
14. W.I. Miller, 'Darwin's Disgust', in D. Howes (ed.) Empire of the Senses: The Sensual Culture Reader (Oxford: Berg, 2005), pp. 335-54.
15. K. Jamie, 'Darkness and Light', Findings (London: Sort of Books, 2005), pp. 1-28 (p. 3).
16. It is no coincidence, for example, that shadowy aesthetics are core structural devices in both horror films and Film Noir. S. Cairns, 'Shadows', in S. Harrison, S. Pile and N. Thrift (eds) Patterned Ground: Entanglements of Nature and Culture (London: Reaktion, 2004), pp. 260-2.
17. C. Nicholas, Somewhere in the Night: Film Noir and the American City (Emeryville, CA: Shoemaker and Hoard, 2006).
18. J. Naremore, More than Night: Film Noir and its Contexts (Berkeley: University of California Press, 1998).
19. Cited in L. Nead, 'The Secrets of Gas', in E. Edwards and K. Bhaumik (eds) Visual Sense: A Cultural Reader (Oxford: Berg, 2008), pp. 297-304.
20. I draw here on the work of anthropologist Tim Ingold on the senses, visual perception and the weather. T. Ingold, 'Stop, Look and Listen! Vision, Hearing and Human Movement', in T. Ingold (ed.) The Perception of the Environment: Essays in Livelihood, Dwelling and Skill (London: Routledge, 2000), pp. 243-87.
21. T. Ingold, 'Earth, Sky, Wind, and Weather', Journal of the Royal Anthropological Institute, 13(1), 2007, pp. 19-38.
22. Ingold highlights the partial nature of vision and the extent to which we have 'lost touch' with the experience of light, and I would add, darkness. Importantly, Ingold's work is premised on the understanding that vision is not a 'one-way process... but rather unfolds in circuits of action and perception, without beginning or end, that are set up through the placement of the perceiver from the onset as being in the world'. T. Ingold, 'The Eye of the Storm: Visual Perception and the Weather', Visual Studies, 20(2), 2005, pp. 97-104 (p. 99, original emphasis).
23. For example, S. Millington and T. Edensor, 'Contested Landscapes of Christmas: Illuminating Urban and Suburban Space-Class, Identity and Community', Royal Geographical Society with the Institute of British Geographers Annual International Conference, 29-31 August 2007, London.
24. D. Delyser, 'Illuminating Landscape and Recovering Representation: Alert Lite and the Practices of Neon', Annual Conference of the Association of American Geographers, 14-18 April 2010, Washington, DC.
25. See (31 March 2011).
26. D. Cosgrove, Social Formation and Symbolic Landscape (London: Croom Helm, 1984).
27. D. Cosgrove and S. Daniels, The Iconography of Landscape (Cambridge: Cambridge University Press, 1989).
28. S. Daniels, 'Human Geography and the Art of David Cox', Landscape Research, 9(3), 1984, pp. 14-19.
29. S. Daniels, Fields of Vision: Landscape Imagery and National Identity in England and the United States (Princeton: Princeton University Press, 1993).
30. For more recent work by Daniels see S.J. Daniels, 'Reforming Landscape: Turner and Nottingham', in P. De Bolla, N. Leask and D. Simpson (eds) Land, Nation and Culture 1740-1840: Thinking the Republic of Taste (Basingstoke: Palgrave Macmillan, 2004), pp. 12-36 and J. Bonehill and S. Daniels, 'Real Views from Nature in the Country: Paul Sandby, Estate Portraiture and British Landscape Art', British Art Journal, 10(1), 2010, pp. 72-7.
31. and J. Bonehill and S. Daniels, 'Real Views from Nature in the Country: Paul Sandby, Estate Portraiture and British Landscape Art', British Art Journal, 10(1), 2010, pp. 72-7.
32. G. Rose, 'Geography as the Science of Observation: The Landscape, the Gaze and Masculinity', in F. Driver and G. Rose (eds) Nature and Science: Essays in the History of Geographical Knowledge, Historical geography research series 28 (1992), pp. 8-18.
33. G. Rose, Feminism and Geography (Cambridge: Polity, 1993).
34. C. Nash, 'Reclaiming Vision: Looking at Landscape and the Body', Gender, Place and Culture, 3(2), 1996, pp. 149-69.
35. D. Matless and G. Revill, 'A Solo Ecology: The Erratic Art of Andy Goldsworthy', Ecumene, 2(4), 1995, pp. 423-48.
36. D. Crouch and M. Toogood, 'Everyday Abstraction: Geographical Knowledge in the Art of Peter Lanyon', cultural geographies, 6(1), 1999, pp. 72-89.
37. A.F.D. Mackenzie, '"Against the Tide": Placing Visual Art in the Highlands and Islands, Scotland', Social and Cultural Geography, 7(6), 2006, pp. 965-85.
38. J.W. Wylie, 'The Subject of Landscape: A Brief Reply to Mark Blacksell', Transactions of the Institute of British Geographers, 30, 2005, pp. 521-2.
39. N. Bourriaud, 'Relational Form', in Relational Aesthetics (Paris: Les Presses du reel, 2002), pp. 11-24.
40. Bishop, Installation, p. 11 (original emphasis).
41. Bishop, Installation, p. 6.
42. L. MacRitchie, 'The Sincerity of Events', in N. Childs and J. Walwin (eds) A Split Second of Para-dise: Live Art, Installation and Performance (London and New York: Rivers Oram Press, 1998), pp. 21-30.
43. The multivalent character of installation art means that its material definition remains elastic. R.J. Onorato, 'Blurring the Boundaries: Installation Art', in R. Onorato and H.M. Davies (eds) Blurring the Boundaries: Installation Art 1969-1996 (New York: D.A.P./Distributed Art Pub-lishers, 1997), pp. 13-29.
44. M. Rosenthal, Understanding Installation Art: From Duchamp to Holzer (London: Prestel, 2003).
45. J.H. Reiss, From Margin to Centre: The Spaces of Installation Art (London: MIT, 1999).
46. Bishop, Installation.
47. J.H. Reiss, From.
48. N. De Oliveira, N. Oxley and M. Petry, Installation Art in the New Millennium: The Empire of the Senses (London: Thames and Hudson, 2003).
49. F. Popper, Art, Action and Participation (London: Studio Vista, 1975).
50. S. Pink, P. Hubbard, M. O'Neill and A. Radley, 'Walking across Disciplines: From Ethnography to Arts Practise', Visual Studies, 25(1), 2010, pp. 1-7.
51. H. Lorimer, 'Cultural Geography: The Busyness of Being "More-Than-Representational"', Progress in Human Geography, 29(1), 2005, pp. 83-94.
52. Bishop, Installation, p. 11 (original emphasis).
53. Bishop, Installation, p. 14.
54. On Kabakov see (31 March 2011).
55. Popper, Art.
56. P. Merriman, G. Revill, T. Cresswell, H. Lorimer, D. Matless, G. Rose and J. Wylie, 'Landscape, Mobility, Practice', Social and Cultural Geography, 9(2), 2008, pp. 191-212.
57. D. Massey, 'Landscape as Provocation: Reflections on Moving Mountains', Journal of Material Culture, 11(1/2), 2006, pp. 33-48 (p. 46).
58. M. Rose and J. Wylie, 'Animating Landscape', Environment and Planning D: Society and Space, 24, 2006, pp. 475-9.
59. D. Crouch, 'Flirting with Space: Thinking Landscape Relationally', cul-tural geographies, 17(1), 2010, pp. 5-18.
60. H. Macpherson, 'Non-Representational Approaches to Body-Landscape Relations', Geography Compass, 4(1), 2010, pp. 1-13.
61. Rose and Wylie, 'Animating'.
62. J. Wylie, 'Depths and Folds: On Landscape and the Gazing Subject', Environment and Planning D: Society and Space, 24(4), 2006, pp. 519-35.
63. J. Wylie, Landscape (London: Routledge, 2007).
64. J. Wylie, 'Landscape, Performance and Dwelling: A Glastonbury Case Study', in P. Cloke (ed.) Country Visions (London: Pearson, 2003), pp. 136-57.
65. J. Wylie, 'A Single Day's Walking: Narrating Self and Landscape on the South West Coast Path', Transactions of the Institute of British Geographers, 30, 2005, pp. 234-47.
66. M. Rose, 'Gathering "Dreams of Presence": A Project for the Cultural Landscape', Environment and Planning D: Society and Space 24, 2006, pp. 537-54.
67. Wylie, 'Single', p.245.
68. Rose, 'Gathering'.
69. Wylie, 'Single', p.236.
70. T. Edensor, 'Walking in Rhythms: Place, Regulation, Style and the Flow of Experience', Visual Studies, 25(1), 2010, pp. 69-79 (p. 75).
71. Rose, 'Gathering', p. 542.
72. Lorimer, 'Busyness', p. 89.
73. E. Laurier and C. Philo, 'Possible Geographies: A Passing Encounter in a Café', Area, 38(4), 2006, pp. 353-63 (p. 254).
74. Laurier and Philo, 'Possible Geographies', p. 354.
75. Although the two share much common ground, it is worth acknowledging the difference in approach here between non-representational theoristsand feminist geographers doing similar work on the emotions as outlined by S. Pile, 'Emotions and Affect in Recent Human Geography', Transactions of the Institute of British Geographers, 35, 2010, pp. 5-20.
76. H. Lorimer, 'Cultural Geography: Worldly Shapes, Differently Arranged', Progress in Human Geography, 31(1), 2007, pp. 89-100.
77. J-D. Dewsbury, 'Performative, Non-Representational, and Affect-Based Research: Seven Injunctions', in D. DeLyser, S. Atkin, M. Crang, S. Herbert and L. McDowell (eds) Handbook of Qualitative Research in Human Geography (London: SAGE, 2009), pp. 321-34.
78. Merriman et al., 'Landscape'.
79. M. Blacksell, 'A Walk on the South West Coast Path: A View from the Other Side', Transactions of the Institute of British Geographers, 30, 2005, pp. 518-20.
80. This was a phrase was used during the planning and development stages and was one of several draft titles.
81. Pink et al., 'Walking'.
82. On the benefits of this method see M. Kusenbach, 'Street Phenomenology: The Go-Along as Ethnographic Research Tool', Ethnography, 4(3), 2003, pp. 455-85.
83. Members of the NVA team were recruited via direct correspondence, flyers distributed during a guide briefing meeting, and on-site at the two check-in centres. Participants were recruited via local advertisement (e.g. posters in libraries, community centres, cafes) and on-site at the two check-in centres. All participant interviews were conducted within three days of visiting the installation. Only one interview was conducted with each person, with the exception of Creative Director Angus, who was interviewed twice. All the research participants were offered anonymity in the form of a pseudonym but all declined and gave permission to use their real names.
84. Walk 1 occurred during the preview week when NVA offered local residents an opportunity to view the installation at a reduced price of £15 (full-price tickets were £25) while they made last minute alterations to individual elements. Walk 2 was undertaken two weeks later with my family. It is worth noting at this point that some people (and not just Skye residents) did object to being charged for walking on land to which the Land Reform (Scotland) Act 2003 afforded them open access. Yet, only one or two took this beyond grumbling or non-participation and insisted on gaining access to the hillside while the installation was in progress.
85. This form was advertised by bookmarks inserted into 5000 copies of the souvenir publication handed to audience members at the end of the installation. Although the form only attracted 16 responses, the quality of the response was extremely high.
86. Laurier and Philo, 'Possible', p. 355.
87. Laurier and Philo, 'Possible', p. 355.
88. NVA, The Storr: Unfolding Landscape (NVA, 2005) (9 March 2009).
89. For information see
90. (9 March 2009).
91. L. Gray, 'Moving Mountains', Art Review, LVI, 2005, pp. 38-9 (p. 39).
92. NVA, 'Designing with Nature', in Farquhar (ed.) The Storr (2nd Edition), pp. 47-66.
93. For example, planning legislation classified the installation as a permanent build which meant that NVA had to submit a 300-page planning application plus full Environmental Impact Survey. T. Cornwell, 'Magic Mountain', The Scotsman, 18 June 2005, pp. 20-1.
94. In its sensitivity to the environment, subjective and evocative response to the landscape, site-specificity, and attempt to address the connections between humans and nature, The Storr can be situated within a long tradition of artistic appreciation of the landscape. Connections can be made with the Romantic landscape tradition (cf. the deep appreciation of the natural environment visible in the work of Constable), the walking art of Richard Long (e.g. A Line Made by Walking, 1967).
95. and Hamish Fulton (e.g. The Pentland Road, 1967)
96. the sculptural installations of Anthony Gormley (e.g. Another Place, 1997)
97. and the grand interventions of American Land Artists such as Robert Smithson (e.g. Mirror Trail, 1969)
98. and Walter De Maria (e.g. Lightening Field, 1977).
99. M. Gould, 'Walking art' (University of St Andrews, 2007) (31 March 2011)
100. Interview with Angus (16/06/2005).
101. For further discussion on conservation (including the role of SSSIs) and the cultural politics of Highland Scotland see F. MacDonald, 'Viewing Highland Scotland: Ideology, Representation and the "Natural Heritage"', Area, 30(3), 1998, pp. 237-44.
102. D. Massey, 'Landscape', p. 46.
103. Edensor notes that advocates of lone walking have long vouched for 'the delights of self-development, communing with "nature" rather than with people, the cultivation of self-reliance and contemplation, and the uninterrupted sensual experiences of nature' that solo perambulation affords. T. Edensor, 'Walking in the British Countryside: Reflexivity, Embodied Practices and Ways to Escape', Body & Society, 6(3-4), 2000, pp. 81-106 (p. 89).
104. Ideally, NVA would have sent people up the hill alone; however, the potential dangers of such an endeavour far out-weighed the benefits.
105. See A. Farquhar (ed.) The Storr: Unfolding Landscape: New Perspectives on Scotland's Land and Culture (1st Edition) (Edinburgh: Luath Press, 2005).
106. Reiss, From.
107. De Oliveira et al., Installation, p. 17.
108. Cited in De Oliveira et al., Installation, pp. 17-18.
109. MacFarlane, Wild, p. 202.
110. Interview with Angus (16/06/2005). A full consideration of how nature was understood and represented within the installation is beyond the scope of this paper, however, as Massey notes, early 21st century understandings of 'nature' as 'endlessly mobile, restless, given to violence and unpredictability' are now widespread and counter the idea that areas such as the Trotternish Ridge exist in some form of 'natural state'. Massey, 'Landscape', p. 38.
111. Interview with Jonathon (n, 09/08/2005). In all participant interview quotes 'r' denotes a resident of Skye and 'n' a non-resident.
112. Interview with Richard (n, 15/08/2005).
113. Wylie, 'Single'.
114. Wylie, 'Single', p. 238.
115. In reality Bronze Age horns recorded in sea caves.
116. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
117. Ingold, 'Stop'.
118. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
119. Ingold, 'Stop'.
120. C.R. Nave, 'HyperPhysics: Rods and Cones' (4 March 2009).
121. J.W. Kimball, 'The Human Eye' (4 March 2009).
122. Nave, 'HyperPhysics'.
123. W. Self, 'The pleasures of night walking', The Independent, 25 May 2007, (31 March 2011).
124. E. Johnson, 'A Phenomenological Investigation of Fear of the Dark', Journal of Phenomenological Psychology, 19, 1988, pp. 179-94.
125. Interview with Graham (29/08/2005).
126. Interview with David B (05/08/2005).
127. Bishop, Installation, p. 48.
128. see also R. Bandt, 'Sound Installation: Blurring the Boundaries of the Eye, the Ear, Space and Time', Contemporary Music Review, 25(4), 2006, pp. 353-65.
129. Interview with David (n, 09/08/2005).
130. S. Rubridge and A. MacDonald, 'Sensuous Geographies: A Multi-User Interactive/Responsive Installation', Digital Creativity, 15(4), 2004, pp. 245-52.
131. S. Emmerson, 'Aural Landscape: Musical Space', Organised Sound, 3(2), 1999, pp. 135-40.
132. Ingold, 'Stop'.
133. Emmerson, 'Aural', p. 137.
134. Ingold, 'Stop'.
135. D. Pinder, 'Ghostly Footsteps: Voices, Memories and Walks in the City', cultural geographies, 8(1), 2001, pp. 1-19.
136. Interview with Calum (n, 05/08/2005).
137. T. Butler, 'A walk of art: the potential of the sound walk as practice in cultural geography', Social and Cultural Geography, 7(6), 2006, pp. 889-908.
138. Rubridge and MacDonald, 'Sensuous', p. 249.
139. S. Maitland, A Book of Silence: A Journey in Search of the Pleasures and Powers of Silence (London: Granta, 2009).
140. P. Macnaghten and J. Urry, 'Bodies in the Woods', Body & Society, 6(3-4), 2000, pp. 166-82.
141. Interview with Rowena (n, 15/08/2005).
142. M. Michael, 'These Boots are Made for Walking...: Mundane Technology, the Body and Human-Environment Relations', Body & Society, 6(3-4), 2000, pp. 107-26.
143. Interview with Rowena (n, 15/08/2005).
144. Y-F. Tuan, 'The Pleasures of Touch', in C. Classen (ed.) The Book of Touch (Oxford: Berg, 2005), pp. 74-9 (p. 78).
145. I use this term in the Burkian sense that even though participants noted feelings of isolation, fearfulness, uncertainty, (and as outlined in the next section) privation, vastness, and difficulty, they all walked through the installation safe in the knowledge that any danger they faced was (to a large extent) figurative and they were unlikely to be harmed. For further discussion see F. MacDonald, 'St Kilda and the Sublime', cultural geographies, 8(2), 2001, pp. 151-74.
146. Maitland, Silence.
147. Music arranged by Scottish composer/producer Paul Mounsey.
148. Interview with Rowena (n, 15/08/2005).
149. D. Pinder, 'Ghostly', pp. 2-3. For examples of Cardiff's sound walks see (31 March 2011).
150. Interview with Richard (n, 15/08/05).
151. Rose, 'Gathering', p. 550.
152. Rose, 'Gathering', p. 599.
153. A. Farquhar, 'Structure', in Farquhar (ed.) The Storr (2nd Edition), pp. 117-33 (p. 118).
154. Gray, 'Moving'.
155. S. Slavin, 'Walking as a Spiritual Practice: The Pilgrimage to Santiago de Compostela', Body & Society, 9(3), 2003, pp. 1-18 (p. 8).
156. Slavin, 'Walking'.
157. J. Wylie, 'A Single Day's Walking: Narrating Self and Landscape on the South West Coast Path', Transactions of the Institute of British Geographers, 30, 2005, p. 240.
158. Interview with Angus (16/06/2005).
159. Interview with Steven (r, 03/08/05).
160. Interview with Lynn (r, 08/08/2005).
161. Interview with David (n, 09/08/2005).
162. A. Phillips, 'Walking and Looking', cultural geographies, 12, 2005, pp. 507-13. Solnit observes, for example, that the pilgrim 'toiling along a road to some distant place is one of the most compelling and universal images of what it means to be human, depicting the individual as small and solitary in a large world, reliant on the strength of body and will'
163. Solnit, Wanderlust, p. 50.
164. Recalling the latter, Farquhar states '[e]very night... thousands of people with hand held torches walk towards dawn, an uncoiling line of flickering energy, snaking upwards with single intent. An ascent allows each person to move through the same physical territory, yet experience it from radically different perspectives'. A. Farquhar, 'Foreground', in Farquhar (ed.) The Storr (2nd Edition), pp. 9-12 (p. 11).
165. Interview with Angus (16/06/2005).
166. J. Lee and T. Ingold, 'Fieldwork on Foot: Perceiving, Routing, Socializing', in M. Coleman (ed.) Locat-ing the Field: Space, Place and Context in Anthropology (Oxford: Berg, 2006), pp. 67-85.
167. Solnit, Wanderlust.
168. Reiss, From.
169. Edensor, 'Walking', p. 101.
170. Ingold, 'Eye'.
171. Interview with Jonathon (n, 09/08/2005).
172. Interview with David (n, 09/08/2005).
173. Ingold, 'Eye'.
174. Interview with Bruce (n, 15/08/2005).
175. Farquhar, 'Structure', p. 119.
176. A site-specific composition by Norwegian composer Geir Jensson.
177. Farquhar, 'Structure', p. 119. This figure was Alex Rigg a dancer and performance artist trained in the Butoh technique.
178. Interview with Vicky (07/08/2005).
179. M. Jacobson, 'Janet Cardiff and George Bures Miller', in C.A. Jones (ed.) Sensorium: Embodied Experience, Technology, and Contemporary Art (Cambridge, MA: MIT, 2006), pp. 57-61.
180. Interview with Rowena (n, 15/08/2005).
181. Bishop, Installation.
182. Interview with William (n, 05/08/2005).
183. Maitland, Silence.
184. Ingold, 'Stop'.
185. B. Ehn and O. Löfgren, 'Daydreaming between Dusk and Dawn', Etnofoor, 20(2), 2009, pp. 9-22.
186. D. Abram, 'Philosophy on the Way to Ecology', The Spell of the Sensuous: Perception and Language in a More-Than-Human World (New York: Vintage Books, 1997), pp. 31-72 (p. 63).
187. D. Abram, 'Philosophy', p. 65.
188. Butler, 'Walk'.
189. P. Merriman and C. Webster, 'Travel Projects: Landscape, Art, Movement', cultural geographies, 16(4), 2009, pp. 525-35 (p. 531).
190. H. Blumenberg, 'Light as a Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation', in D. Levin (ed.) Modernity and the Hegemony of Vision (London: University of California Press, 1993), pp. 30-62 (p. 45).
191. There is debate surrounding the length of time night-sight or 'dark adap-tation' takes to develop; estimates vary from 10-30 minutes. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
192. Self, 'Pleasures'. Sorensen also adds that that there may be impurities in the initial black experience-when the lights go out, one may experience after-images and other residues of recent viewing. An example is provided by Paton Walsh who describes the effect of turning one's head-torch off in a cave: 'First you see random flashes of white light as your retina tries to adapt, then colours join the fireworks. The last and most enjoyable stage is hallucination. Wave your hand in front of your face and, although there's no light to enable your eye to detect an image, your brain pretends to see your swaying hand. It's the visual equivalent of feeling your ears ringing'.
193. N. Paton Walsh, 'Heart of Darkness', The Observer, 7 February 1999, p. 8.
194. R. Caillois, 'Mimicry and Legendary Psychasthenia (translated by John Shepley)', October 31, 1984 [1937], pp. 16-32.
195. N. Chapman, 'Features in a Landscape' (24 September 2008).
196. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, pp. 456-80.
197. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, p. 457.
198. R. Sorensen, 'We See in the Dark', Noûs, 38(3), 2004, p. 459.
199. K. Jamie, 'Darkness and Light', Findings (London: Sort of Books, 2005), pp. 1-28 (p. 3).
200. K. Jamie, 'Darkness and Light', Findings (London: Sort of Books, 2005), pp. 1-28 (p. 3)
201. D. Pinder, 'Ghostly Footsteps: Voices, Memories and Walks in the City', cultural geographies, 8(1), 2001, pp. 1-19.
202. Interview with Steven (r, 03/08/2005).
203. Interview with Lynn (r, 08/08/2005).
204. Solnit, Wanderlust.
205. Solnit, Wanderlust, p. 136.
206. Solnit, Wanderlust, p. 50.
207. Interview with Jonathon (n, 09/08/2005).
208. Interview with Richard (n, 15/08/2005).
209. Interview with Catriona (r, 03/08/2005).
210. Interview with Anne (r, 03/08/2005).
211. For the last groups this happened on the final stage of the ascent. Staggered check-in times between 11pm and 12am meant that groups going off at different times tended not to meet.
212. Wylie, 'Landscape', p. 153.
213. Interview with David (n, 09/08/2005).
214. Wylie, 'Landscape'.
215. Various female singers occupied this role; however, the one who performed most frequently and who liaised with NVA during the developmental stages was Ann Martin.
216. Farquhar, 'Structure'.
217. D.M. Levin, 'Shadows: Reflections on the Enlightenment and Modernity', The Philosopher's Gaze: Modernity in the Shadows of Enlightenment (Pittsburgh, PA: Duquesne University Press, 1999), pp. 408-18.
218. Solnit, however, would argue that constellations are not natural phenomena but cultural impositions, and that 'the lines drawn between the stars are like paths worn by the imagination of those who have gone before'. Solnit, Wanderlust, p. 291. Toward the end of the installation run nature occasionally provided its own display in the form of the Northern Lights.
219. Interview with Sylvia (r, 08/08/2005).
220. Interview with Jonathon (n, 09/08/2005).
221. J. Wylie, 'Depths and Folds: On Landscape and the Gazing Subject', Environment and Planning D: Society and Space, 24(4), 2006, p. 522.
222. J. Wylie, 'Depths and Folds: On Landscape and the Gazing Subject', Environment and Planning D: Society and Space, 24(4), 2006, p. 522.
223. D.M. Levin, 'Shadows: Reflections on the Enlightenment and Modernity', The Philosopher's Gaze: Modernity in the Shadows of Enlightenment (Pittsburgh, PA: Duquesne University Press, 1999), p. 410.
224. Macpherson, 'Non-representational', p. 5.
225. J. Wylie, 'A Single Day's Walking: Narrating Self and Landscape on the South West Coast Path', Transactions of the Institute of British Geographers, 30, 2005, pp. 234-47.
226. J-D. Dewsbury, 'Performative, Non-Representational, and Affect-Based Research: Seven Injunctions', in D. DeLyser, S. Atkin, M. Crang, S. Herbert and L. McDowell (eds) Handbook of Qualitative Research in Human Geography (London: SAGE, 2009), pp. 321-34.
227. J-D. Dewsbury, 'Performative, Non-Representational, and Affect-Based Research: Seven Injunctions', in D. DeLyser, S. Atkin, M. Crang, S. Herbert and L. McDowell (eds) Handbook of Qualitative Research in Human Geography (London: SAGE, 2009), pp. 321-34.
228. S. Pile, 'Emotions and Affect in Recent Human Geography', Transactions of the Institute of British Geographers, 35, 2010, p. 11.