Here is a list of Conferences I have attended and delivered a paper to. I haven’t done one for a while. My experiences, like many people’s, have been varied, to say the least. From seemingly hundreds of people at the National Media Museum, to tiny streamed sessions in even tinier rooms, to a handful of people only just breaking into double figures. Some conferences are listless, going through the motions. But the recent conference on Gillian Rose at Durham was excessively agonistic and had a profound effect on me, essentially leading to my second monograph, A Book of the Broken Middle (Repeater).
I moved north in 2011 to finish PhD fieldwork, the material that was eventually re-written for my book Small Towns, Austere Times (Zero, 2014). As soon as I got back, I began to write for the Bradford Grid project, and some of its individual members, as an affiliate rather than a full member. Again, these pieces were Adventures in Political Landscapes (as well as an ‘Adventure in a Yorkshire Landscape’). Here is a piece on the Bradford Grid from the magazine Now Then, and a longer essay I wrote for The Grid at the Ways of Looking Festival, called Surf and Turf on Thornton Road. This piece also represents my interest in subcultures and sound.
I wrote a piece called The Tracker Chronicles, for the Ways of Looking festival catalogue that year. Plus an essay for Charlie Meecham’s Oldham Road Revisited project, called Rewriting the Oldham Road. This work then moved to the People’s History Museum in Manchester.
I also published what I now consider to be a prescient piece on what might happen to art schools in Britain, called Language, Dissent and the Classed Art School as well as an essay for a South Square Gallery show on Virilio’s Dromology, called Starting in the Middle and Setting Out. That piece was written with Robert Galeta, but here is my draft before he added his final touches. The precedent for that work is probably my article for the Urbis Research Forum Review, called Reading the Calder Valley, Rural, Industrial, Nuclear, as it was really the start of my interest in technology and landscapes. It was an attempt to displace the usual obsession with industrialism as a neat period.