I walked with Daisy along the River Don from the Wardsend cemetery to Neepsend. At Wardsend, we started off a little way down the railway lines that run stark and clean through the undulating and overgrown cemetery, then veered off to follow the river itself, along the newly surfaced track that cuts through the vast mounds of debris – spolia from demolished works? – that loom either side. The electricity pylons hummed and crackled overhead and the thunderous engines of quad bikes rumbled and reverberated in an undefinable distance.
Everywhere we walk, waste. And amidst the waste, lilac and jack-in-the-hedge. The river bank is strewn with tyres and bottles and fast food wrappers, mattresses and plastic chairs, podgy black bin bags. A sign screwed to one of the metal kissing gates put there to stop the quad bikes : fly tippers – we are watching you.
At Wardsend, on the hill amidst the silver birch, there has been a fire. Graves squat in scorched earth, black tipped tendrils clasping shards of stone, displacing fragments of Victorian ironwork.
The Hillsborough playing fields are to our right. A man in a vermilion jersey sparks across the pitch. A sheep’s skull – or perhaps it is just a carrier bag – is revealed, briefly, as the river washes across it. Bottle-green, muddy mallards drift.
Neepsend. Eviscerated drag cars and deserted roads, leading to an empty, elevated horizon.
Furnace Park is being cleared by two men sent by the University’s environmental services team. I watch them scrape up scratchy foliage, broken glass, iron rods, lumps of metal stuff that we can’t identify, condom wrappers, syringes, plastic bags, CD boxes… The detritus of lives played out around the edges of the security fence, thrown over its gates. I try to ignore the layby opposite the main entrance, where tyres and condoms, wet wipes and plastic bottles, stained mattresses and police cones pile up one on top of the other, dishevelled pyramids of crap.
The rubbish is being sorted into waste streams and taken away – somewhere. The upper part of the site is becoming visible for the first time. Here and there, the dried-out, headless carcasses of birds, greasy feathers ligatured to hollow bones, their substance sucked out by the foxes I’ve heard live on the site. Some bevelled, rusting rods emerge from the lip of land that overhangs the concreted part below. We can’t pull them up so have to cover them with painted plastic bottles, identifying them as trip hazards. Resistive, non-compliant stuff, incorporated nonetheless in our scheme of things. Some soft black rubber hoops, which look like bicycle inner tubes but which I’m told are used to seal window frames, lie half buried beneath the loose rubble, wood chippings and leaves. They slither easily out of the humus, bringing their friends with them, tangled coils of dirty black snakes eating their own tails.
David is wearing thick gloves and collecting fifty objects from around the site. He doesn’t know what he’s going to do with these things yet, but we’re anxious to salvage stuff before it all disappears. It seems invested with an importance connected to this place that none of us understand. Once it’s gone from here it’s gone.
All over the site we see lumps of industrial stuff, chunky hieroglyphs that none of us know how to interpret. Someone finds a Tate membership card, sheathed in orange plastic, hiding dirtily under the buddleia. A couple of our brand new padlocks, sawn off with angle grinders by contractors frustrated by the awkward tilt of the gates, squat shiny and scarred, fat round scarabs on the suspect soil. This surface is awash with disordered pasts.
Email from David to Amanda, March 2014
Being asked to select objects from a site you’re unfamiliar with, within a strict timeframe and for a project you may have no real idea about poses certain issues.
Firstly there is the problem of understanding a site within a short time frame. What is Furnace Park and why have Amanda and the team invested so much time in it? On an entirely visual level it seems to be just like any other brownfield site once used for industry that has been left to stew in its own detritus, the only possibility being that one day it may provide affordable parking opportunities for commuters. How do you go about navigating and appreciating this site without any prior knowledge of it?
The second is the selection of the objects themselves. The site is strewn with debris from empty spray cans to condom wrappers, all of which provide a conflicting account of the site’s history. It is apparent that some of the objects may have no real connection to the rich history of the site. However, how am I to decipher between the myriad of urban and industrial histories?
And thirdly, why am I doing this? The site is scheduled to be cleared the day following my visit so the objects will no longer be there. It seems like a frantic scavenge attempt in which I am attempting to collect anything that may hint at an interesting history, leaving the conceptual aims a post ‘collection day’ thought.
I never knew picking up rubbish would be this hard.
“Contrasting with the representative scene of the visibility of speech is an equality of the visible that invades discourse and paralyses action. For what is newly visible has very specific properties. It does not make visible; it imposes presence… (and possesses an) inertia that comes to paralyse action and absorb meaning” (Jacques Rancière 2009, p. 121)
Diary Entry, September 2013 (Amanda)
The temptation is always to see sites such as the one on the corner of Doncaster Street and Matthew Street as blanks or voids, the negative spaces of the city’s redevelopment. But this presumed negativity (which is both ontological and moral) is a complex product of discourse, an illusorily static nexus of largely unchallenged perceptions.
Hours spent in the local studies library unearthed a series of histories associated with the Furnace Park site. In 1886, a stockyard wall collapsed and tons of iron bars and timbers cascaded on a group of children playing below, killing eight. In 1899, a boiler explosion at the Don Cutlery Works, now a listed but derelict building that adjoins Furnace Park, killed seven men. In 1931, Cllr Graves opened a children’s playground on the part of the site where the Doncaster Arms had once stood. The gate that currently stands at the entrance to Furnace Park traces the pub’s ghostly outline. On the lower part of the site, where the ground is more stable (a mixture of concrete and brown floor tiles) we have been able to make out a wall that used to be part of the Council’s Municipal Lighting Department. Before that, this part of the site was overlaid with slum housing, arranged in grandly named ‘courts’.
Looking at photographs of the playground with a local policeman, we conclude that the handful of twisted iron rods, a couple of feet long and protruding from the surface of the soil by the lip of land that overhangs the lower site, probably once anchored the seesaws and swings. We’ve been unable to pull them up, so deeply are they rooted. But the majority of the objects we find on the site are alien supplements – weirdly disconnected from the activities and architectures that have come up in our research. They refuse to give themselves up as material expressions of their own owners and users; they resist our expression of them (and overflow it).
When I asked David to collect objects he found interesting and may be ‘able to do something with’, I’m not really sure what I was asking of him. I have an idea that we might just exhibit them in a provisional museum of the rusty, tattered and ordinary, or that we might cast them in concrete or polish them up. But to what end? Why this urge to salvage, protect, collect, display? The semantic texture and density of the site, the multiplicity of its historical and recent uses, rendered in this anarchic proliferation of things, countermand the idea of the site as void (in the sense of its begin devoid of meaning, if not of ‘value’). But they also resist incorporation into a narrative or an aesthetic. They remain a paralysing jumble of stuff, awaiting (impossible) re-enchantment in David’s studio.
All images copyright David McLeavy, 2013.
Diary Entry, November 2014 (Amanda)
Behind the shipping container, two large water butts are filled with waste: banana skins, blackened, soft; sandwich cartons; plastic bottles; packing tape; latex gloves. When people come to work on the site, they leave their rubbish here, in the expectation that it will be removed, taken away. But at the moment we have no provision for waste removal, other than taking it ourselves to the local tip. The problem is that none of us drive.
A group of students have just put forward an idea for a site-specific performance which would involve bringing two tonnes of sand on to the site. My first question was not about the performance itself, but how they planned to get rid of the sand afterwards, when those two tonnes – wet with rain – may well weigh in at four tonnes. How would they stop it dispersing across the site? How would they dispose of it when rats and foxes may have soiled it, thereby making it unsuitable for donation to a school or playground? Their immediate thoughts were about the suitability of the site in terms of bringing in the sand. They couldn’t, for example, do this at a smaller indoor venue they had also considered for their performance. My concern at the moment is: how will you take what you bring away?
Getting rid of our waste is something we take for granted. Contrary to all the laws of physics, in our world stuff disappears. Even the materials we put in the blue bin for recycling aren’t recycled by us; they aren’t re-used and re-incorporated in our world. Other people, other bodies, do that for us.
At the moment, however, we are confronted with sights and smells of decay; with waste we struggle to manage and dispose of ourselves. Each time I go down to the site, it seems people have tipped their waste – wet wipes, cans, food packaging – over the fence. Others must come in vans, throwing their tyres, signs, boards and rubble into the buddleia which, not yet flowering, barely functions as a screen. This ‘wasteland’ – a repository for waste. Yesterday, in my orange work gloves, catching my face on the dried stalks as I crouched among them, I picked up as much detritus as I could, cramming everything into plastic bags from the garage down the road. I’m scared of coming across a syringe (I don’t) and I don’t want to pick up the wet wipes. I have an idea of what they have been used for. In the end, I propped up a large fibreglass mould that someone had pushed under our gate (the site economy relies on the donation of ‘useful’ or ‘interesting’ waste) against the buddleia that grows by the gate in an attempt to hide the rubbish I didn’t have time to collect and store away, for now, behind the shipping container.
Email from David to Amanda, April 2014
I have a strange relationship with objects (to use the word in this context as the ornaments and signifiers of memory that we surround ourselves with on a daily basis). On one hand I have little time for the act of hoarding, which Channel 4 amongst other sources have made us increasingly aware, is a common issue within cramped domestic dwellings. I dispose of a lot of my ‘stuff’ on a regular basis, as I don’t feely terribly precious over the banal objects I tend to posses. On the other hand I do envy collectors in a romantic way. The idea of a ceramics mogul collecting historical pots from progressive artists such as Braque and Bindesboll has always seemed attractive, perhaps that’s due to the inherent value that the ceramics possess or perhaps its the enviable status that a collector of such rarity possesses in certain social circles.
It’s interesting to note why people collect things. My impression is that its due to a number of reasons, ranging from hierarchical social ambitions, a genuine interest in the formal, contextual and conceptual value of the objects to a more addictive scenario in which the collecting becomes more of a compulsion. There is also the sense of inherent monetary value that these collections begin to acquire (the common example of a mint condition Star Wars figurine still in its packaging that becomes the sci-fi pornography to a certain generation of uber fan). In most cases this results in the collectors projecting a specific value onto an object that far exceeds its material value or the value of its constituent parts.
This brings me to Furnace Park and the objects that I was urged to collect. The interesting opposition to my previous statement is that these objects have no value or very little at best. More often than not the value of the materials is more than what they are worth as a whole. I imagine this is due to their function, or in fact their lack of function. The objects I collected are often broken parts ripped from working machinery along with fragments of machinery that has since become obsolete. The only value they seem to have is determined by their new home, or by someone willing to project a value. The difficulty I am finding is trying to project a value on the objects I have collected when I have no emotional or melancholic connection with them at all. Perhaps this is something that will form over time, like the friendship between Tom Hanks and Beasley the dog in Roger Spottiswoode’s classic feature Turner and Hootch. Or perhaps my hunt for an emotional connection with the objects is a wasted pursuit altogether.
Initially I thought that the outcome of my research and residency period at Furnace Park would take the form of some sculptural works inspired or using the various fragments that I collected. Instead it seems to have fuelled more of a critical dissemination of the point of collecting and our forced relationship with objects that we project a false melancholy upon.
G03, Jessop West, 1 Upper Hanover Street, University of Sheffield
Scientific discourses on neuroplasticity abound with metaphors both of (neuronal) landscapes and (cortical) ‘real estate’. This cutting-edge symposium brings together speakers from across the disciplines to explore the ways in which recent advances in the understanding of neuroplasticity might be used to construct new models for negotiating urban landscapes and temporalities. Our discussions will include a consideration of how brain trauma and cerebral re-organisation can yield new understanding and insight regarding the complexity and resilience of the damaged topographies that punctuate the post-industrial, post-colonial and post-traumatic cityscape. Thinking through the sculptural dynamic of cerebral morphology will also open up a debate concerning the ways in which critical methodologies from the arts might find their place in the sculpting of new forms of stability within the contemporary built environment, participating in the ‘real life’ making of cities, at both grass roots and policy level. This symposium is open to all and will feature a digital exhibition by Stuart Wilson.
Speakers include Professor John Barrett, Luke Bennett, Dr Amanda Crawley Jackson,Professor Martin Jones, Chris Leffler, Sara Parratt-Halbert, Dr Tom Stafford, Dr Adam Stansbie, Dr Stuart Wilson
The event, which is part of the In the City programme organised by the Faculty of Arts at the University of Sheffield, is jointly hosted by occursus and the School of Geography.
Furnace Park, which grew from the occursus project, is an associate pilot of the EU-funded SEEDS project and the symposium will include a presentation by the project manager, Sara Parratt-Halbert.
In order to escape the violent winds that blew in these parts throughout early January, I took to rambling through the scattered woodlands along the banks of the river Don. Here I found many large sycamore maples or Acer pseudoplatanus – a magnificent tree that will sometimes grow to a height of over a hundred feet.
I have observed that, in wet ground at the base of these sycamores, the rocking movement of the tree in high winds – transmitted from the upper branches down through the solid trunk – results in oscillatory movements within pools formed from groundwater. This fluid moves up and down with the back and forth movement, resulting in the water rising up and withdrawing – almost like breath – and often expelling the liquified soil to create cavities amongst the roots. These cavities are, I am led to understand, known as oscillants …
Acer pseudoplatanus, the sycamore maple, is a species of maple native to central Europe and southwestern Asia, from France it is naturally distributed eastwards towards the Ukraine, and south to northern Spain, northern Turkey, and the Caucasus. It is not related to other trees called sycamore or plane tree in the Platanus genus. Its apparent similarity to the species of that genus led to its being named pseudoplatanus, using the prefix pseudo- (from the Ancient Greek for “false”). Other common names for the tree include false plane-tree, great maple, Scottish maple, mock-plane, sycamore or Celtic maple.
It is a large deciduous tree that reaches 20–35 m tall at maturity, with a broad, domed crown. On young trees, the bark is smooth and grey but becomes rougher with age and breaks up in scales, exposing the pale-brown-to-pinkish inner bark. The leaves are opposite, large, 10–25 cm long and broad with a 5–15 cm petiole, with a leathery texture, palmately veined with thick veins protruding on the underside surface, with five lobes with toothed edges, and dark green in colour with a whitish underside. The leaves are often marked with black spots or patches which are caused by the fungus Rhytisma acerinum. The monoecious yellow-green flowers are produced in spring on 10–20 cm pendulous racemes, with 20–50 flowers on each stalk. The 5–10 mm diameter seeds are paired in samaras, each seed with a 20–40 mm long wing to catch the wind and rotate when they fall; this helps them to spread further from the parent tree. The seeds are mature in autumn about 6 months after pollination.
The name “sycamore” originally belongs to the fig species Ficus sycomorus, which is native to southwest Asia (this is the sycamore or sycomore referred to in the Bible). The name was later applied to this species by reason of the superficial similarity in leaf shape.
The sycamore is cultivated and widely naturalised north of its native range in northern Europe, and it now occurs throughout the British Isles, having been introduced in the 17th century. It is considered to be an environmental weed in environmentally sensitive locations.
The wood is a medium weight hardwood, weighing 630 kg per cubic metre. It is traditionally used in making the backs, necks and scrolls of violins. The flowers produce abundant nectar, which makes a fragrant, delicately flavoured and pale-coloured honey.
The branches come out of the ground in great numbers, growing, to the height of sixe foote, garnished with brave flowers of great beautie, consisting of fower leaves a piece, of an orient purple colour. The cod is long … and full of downie matter, which flieth away with the winde when the cod is opened.
John Gerard, The Herball, 1597
Rosebay Willowherb, or Fireweed as it is know in North America, is both abundant and widely distributed throughout the Upperthorpe and Netherthorpe edgelands.
It has, to my mind, the great distinction of two quite separate yet equally spectacular stages in its reproductive cycle. The first occurs with the flowering of the vivid magenta spears – often seen waving in stark chromatic contrast against the blue of the summer sky. The second stage occurs at the end of the ripening within the seed pods of the delicate and silk-like seeds – on the warmest days the rising air currents will be alive with these delightful, dancing, graceful strands as they make their escape …
Epilobium angustifolium, commonly known as Fireweed, or Rosebay Willowherb, is a perennial herbaceous plant in the willowherb family Onagraceae. It is native throughout the temperate Northern Hemisphere, including large parts of the boreal forests. The species name angustifolium is a portmanteau of the Latin words angusti meaning ‘narrow’, and folium meaning ‘leaf’.
Rosebay Willowherb is often abundant in wet calcareous to slightly acidic soils in open fields, pastures, and particularly burned-over lands; the name Fireweed derives from the species’ abundance as a coloniser on burnt sites after forest fires. Its tendency to quickly colonise open areas with little competition makes it a clear example of a pioneer species. These plants grow and flower as long as there is open space and plenty of light; as trees and brush grow larger the plants die out, but the seeds remain viable in the soil seed bank for many years – and when a new conflagration or other disturbance occurs that opens up the ground to light again the seeds germinate. Some areas with heavy seed counts in the soil can, after fire, be covered with pure dense stands of this species and when in flower the landscape is turned into fields of colour.
In Britain the plant was considered a rare species in the 18th century, and one confined to a few locations with damp, gravelly soils. It was sometimes mis-identified as Great Hairy Willowherb in contemporary floras. The plant’s rise from local rarity to widespread weed seems to have occurred at the same time as the expansion of the railway network, and the associated soil disturbance.
Rosebay Willowherb became locally known as bombweed due to its rapid colonisation of bomb craters in the Second World War.
The reddish stems of this herbaceous perennial are usually simple, erect, smooth, 0.5–2.5 m (1½–8 feet) high with scattered alternate leaves. The leaves are entire, lanceolate, and pinnately veined. The radially symmetrical flowers have four magenta to pink petals, 2 to 3 cm in diameter. The styles have four stigmas, which occur in symmetrical terminal racemes. The leaves of fireweed are unique in that the leaf veins are circular and do not terminate on the edges of the leaf but form circular loops and join together inside the outer leaf margins. This feature makes the plants very easy to identify in all stages of growth. When fireweed first emerges in early spring, it can closely resemble several highly toxic members of the lily family. However, it is easily identified by its unique leaf vein structure.
The reddish-brown linear seed capsule splits from the apex. It bears many minute brown seeds, about 300 to 400 per capsule and 80,000 per plant. The seeds have silky hairs to aid wind dispersal and are very easily spread by the wind. Once established, the plants also spread extensively by underground roots, an individual plant eventually forming a large patch.
The young shoots were often collected in the spring by Native American people and mixed with other greens for eating. They are best when young and tender: as the plant matures the leaves become tough and somewhat bitter. The southeast Native Americans use the stems in this stage. They are peeled and consumed raw. The root can be roasted after scraping off the outside, but often tastes bitter. To mitigate this, the root is collected before the plant flowers and the brown thread in the middle removed. The Dena’ina add fireweed to their dogs’ food.
Fireweed is also a medicine of the Upper Inlet Dena’ina, who treat pus-filled boils or cuts by placing a piece of the raw stem on the afflicted area. This is said to draw the pus out of the cut or boil and prevents a cut with pus in it from healing over too quickly.
Before the eating and drinking began on Christmas day, I decided to take advantage of Upperthorpe and the surrounding areas being all but empty of humans and had a little wander about with my camera. This is what resulted.
