Abstract
Pennine Street is a cartographic art experiment, twinning High Street 2012 in London with the Pennine Way, a long-distance footpath running between the Peak District and the Scottish Borders. Pennine Street was initially prompted by the London 2012 Olympic spectacle; more specifically, by the militarization of the Games through the proposed deployment of surface-to-air missiles at sites in London. The project initially took the form of three organized walks along the route of High Street 2012, from Aldgate to Stratford. Readings were made while walking on each occasion, and both photographic and textual collages emerged out of the initial walks. The project engages the idea of trespass as a political action, as both potent and futile, and traces the development of modes of photographic and textual “trespass”, or transgression. Textual collage is employed to investigate the possibility of articulating Pennine Street as a “space-between” the empirical and the imagined.
Highlights
Pennine Street is a cartographic art experiment, twinning High Street 2012 in London with the Pennine Way, a long-distance footpath running between the Peak District and the Scottish Borders
Pennine Street may be understood as constituting such a “space-between”, that is able to mediate and to contest some of the dominant, “official” narratives that are currently functioning in the places of
Where the concept and practice of deep mapping is still emerging and finding definition as a way of exploring place, I offer Pennine Street as a project that may contribute to our understanding of deep mapping, and that may deepen its attention to imaginative and fictional aspects of place
Summary
Pennine Street is a cartographic art experiment, twinning High Street 2012 in London with the Pennine Way, a long-distance footpath running between the Peak District and the Scottish Borders. With the conviction that conventional forms of direct action, demonstration and non-violent resistance would have no effect on the implementation and “success” of the Olympics, I made the -ineffectual choice to develop a creative and theoretically-informed artistic project to attempt to address some of the underlying conceptual dynamics that make such phenomena possible; including considering how places can be defined and re-defined in this particular cultural moment; how the power to undertake processes of definition works through institutions and conventions such as naming; and how we might be able to re-consider what is accepted as “real” and “natural” through taking up an interest in fiction and imagination. These considerations have informed the development of Pennine Street as a resistant, imaginative response to the Olympic project, though they are, not resolved in the project
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