Sunday, 14 January 2018

Counting seasons

I have been visiting the Meadows to think about how I will approach the microseasons project. Trying to observe the changing environment of the Meadows over time, it has quickly become clear to me that the architecture of plants, trees and the landscape is only one aspect of the Meadows' own seasonal fluctuation. Changes in colour are increasingly catching my attention.

When entering that particular landscape (and it does feel like you enter it, coming off the main Aylestone Road from the city and up over the bridge to reach the Meadows), at first there is a sense of an overall colour change.  Is it something in the light, or the actual colour of the natural growth in the woodlands?  Often it is a combination of both, the natural objects themselves cannot be separated from the weather's effect on them.

One day just before Christmas I was suddenly struck by a flourescent yellow - as the cold but bright winter light hit lichen on the twigs, they seemed to glow like iridescent pencil sketches against the sky.

Then the snow fell, turning the light an eerie lilac-grey as it layered the trees' bare branches, making the trees appear more like black ink marks and losing their colour by contrast.

I began making watercolour swatches of the colours infront of me. I made drawings of lichen-covered twigs. But none of this quite captures what I'm looking for.

I've been looking at Japanese art of the Edo period.  I knew that Hokusai had made 36 woodcut blocks of different views of Mount Fuji, and I wondered how he had described the seasonal variation of the mountain. The microseasons project is, after all, inspired by Japanese tradition of observing the seasons.

And there was the effect of light again, in Hokusai's work "Clear Day with a Southern Breeze", 凱風快晴 Gaifū kaisei. As a print, Hokusai made different impressions of this work in a number of colours, perhaps each describing a different time of day or the differing lights of the time of year, and how it affects the mountain.  The best known version, known as Red Fuji, is described by a curator of the British Museum: "When conditions are right in late summer or early autumn, with a wind from the south and a clear sky, the slopes of Fuji can be dyed red by the rays of the rising sun... This is the most abstracted composition and yet the most meteorologically specific of all the 'Thirty-Six Views'"1

It is one in the series "Thirty-Six Views of Mount Fuji" (you can see the full set here). There seems to be a cultural custom to have many numbers of things. Hokusai's Thirty-Six Views was followed by Hiroshige's "The Fifty-Three Stations of the Tōkaidō". Our microseasons project, as I wrote in my last post, is inspired by the Japanese naming of 72 seasons.

What can I learn from this? How would I count the number of ways that seasonal light can be observed? Will this help me find a way to capture something of the Meadows?

Saturday, 6 January 2018


New Year's Day:
Silent pine trees
on Higashiyama
                Takakuwa Ranko

What is a season? In Britain we recognise just four seasons - spring, summer, autumn and winter - which are divided equally throughout the calendar year. Looking beyond our shores, seasons are not always restricted in number, defined by the calendar year, or based on weather.  Ancient Japanese society had 25 main seasons and 72 microseasons, each defined by experience and observation of the natural world. The beginning of January is the microseason of "Beneath the Snow the Wheat Sprouts."

Drawing on the Japanese notion of microseasons, Suzi and Jo started to wonder how we might recognise British microseasons, and what this might tell us about the changing environment in our own back yards. Thus we are starting this project, bringing together the arts and science to redefine our seasons based on microseasons; not based on the date, but elucidated from the sights, sounds and smells of the weather, animal activity, changes in vegetation and human behaviour.

It is often hard for us to imagine the impact of climate change on a global scale.  Everything seems so vast when talking about climate change - the numbers, the lengths of time, things that are happening miles away which we know will affect us but it's difficult to truly connect to imaginatively.  By focusing on the local, on a much smaller scale, we can really start to see small changes and understand what might be happening where we live.

Thus we will start this project in Jo's neck of the woods:  Aylestone Meadows in Leicester. Jo has been discussing with the local council and has permission to locate a pollen trap in the meadows. Suzi will analyse the pollen collected throughout the year. Jo will also make her own artistic observations.  We aim to experiment with how art and science, which both use techniques of close observation, can influence each other to generate a detailed way of describing small changes within small time periods or microseasons.  How will this affect our human perception of the time period of one year? How does this challenge how we perceive seasons? How does this alter our scientific and artistic practice?

We also encourage you, our readers, to get involved!  Email us any observations of change you have made wherever you are - do you notice flowers blooming later in the year than usual, or birds returning from their migration at unexpected times?  How are the microseasons changing your environment - have you spotted small changes that tell you that a new microseason is starting?  Please send us photos, written notes, or even poems and we will post what we can on this blog to share.  Please make sure you note the date of the observation too!

You can also track the Japanese ancient seasons through a beautiful free App by the Utsukushii Kurashikata Institute (translated as Beautiful Living Research Lab), which includes photographs, illustrations, haiku poems such as the one above, and words based on the poetic names of the seasons. Click here to find out more.

Images in this post by Andrew Postlethwaite.

Wednesday, 20 December 2017

Imagining Woodlands in 2018

We have plans for Imagining Woodlands throughout 2018, starting in January with a Study Day to take place in York. Dr Freya Sierhuis, Lecturer in English and Related Literature , Dr Lynda Dunlop, Lecturer in Education,  environmental archaeologist Dr Suzi Richer and artist Jo Dacombe will meet to discuss ecocritical criticism, art and pedagogy, focusing in particular (but certainly not exclusively) on the idea of place, the relationship between walking and thinking.  We will share some of the outcomes of that day on this blog.

Following that, Freya, Jo and Suzi have developed a teaching module for Imagining Woodlands, which will be delivered for students at the University of York in May.  Collaborating with other experts, we will explore woodlands from various viewpoints and disciplines, and challenge the students to make their own creative responses to a day walking in the woods.

Also, Suzi and Jo are working with Dr Benjamin Gearey, an environmental archaeologist from University College Cork, to develop a special session at the EPPC conference in Dublin in August.  Artists, academics, archaeologists, scientists and anybody else interested are invited to submit a paper or other presentation on the connection between the scientific practice of palaeoecology and that of the visual and other creative arts.  Click here to read more about our special session no. 29:  Palaeoecology Through the Lens of Arts and Science.

Finally, Suzi and Jo will be collaborating on a project called The 72 Seasons, to identify micro-seasons in a woodland in Leicester through scientific and artistic observations. This project will start early in the year and run throughout the 12 months.  Regular updates will be posted on this blog.

So here's to new adventures in 2018, when we will launch The 72 Seasons project and let you know how you can get involved!

We leave you with a short, beautiful film by AP Film of woodlands in the snow at this link: Snow in the Woods.

Thanks for following.

Photos in this post by Andrew Postlethwaite.

Friday, 8 September 2017

Sacred Spaces of Milton Keynes

I will be leading a creative walk through Milton Keynes on Sunday 1st October, for the community organisation Back to Books, one of a series of walks they are commissioning to celebrate parks and gardens, woods and water, crafts and industry.

We will work as a group to create temporary art installations in some of the locations, reflecting on the spiritual and metaphysical designs, structures and geometry that can be found in the unique town of Milton Keynes.
The event is free and there is a free bus to and from Corby, or you can meet us in Milton Keynes.

The walk will be about 4 miles with a stop for a picnic, please bring your own! 
Places are limited, so please book via the Eventbrite page.

Back to Books' project is funded by Awards for All and Tesco Bags of Help.

I hope you can join us.

Thursday, 24 August 2017

Introducing Imagining Woodlands' collaborators: Freya Sierhuis

Dr Freya Sierhuis teaches English literature at the University of York. By training a historian who specializes in Renaissance literature and literary culture, particularly of religious writing and of the stage, she has in recent years branched out into the field of ecocriticism and the environmental humanities.

At York, she teaches a module on literature and the environment which offers a variety of historical and critical perspectives on our relation to the environment, ranging from the poetry of Wordsworth and John Clare, to classics of nature writing, such as Thoreau’s Walden and Nan Shepherd’s The Living Mountain, to the novels of Aboriginal writer and activist Alexis Wright. Drawing on studies in literary criticism, nature writing, and philosophy, it asks the question of what constitutes environmental literature, how such literature shapes environmental consciousness and action, and how new perspectives generated by the emergence of ecocriticism raise questions about the relationship between human perception and the natural world, and our co-existence as human beings in the larger living organism of the earth.
“Above all, do not lose your desire to walk. Every day I walk myself into a state of well-being and walk away from every illness. I have walked myself into my best thoughts, and I know of no thought so burdensome that one cannot walk away from it”.
Søren Kierkegaard
“I only went out for a walk and finally concluded to stay out till sundown, for going out, I found, was really going in”.   
John Muir
A keen hiker and mountain walker, Freya is interested in the relationship between walking, writing and thinking. The connection between walking and philosophy as we know it from Rousseau’s Reveries of a Solitary Walker and Thoreau’s essay ‘Walking’ is part of a tradition whose roots stretch back far into history; perhaps to the very origins of philosophy with the peripatetic philosophers of ancient Greece. Walking, writers like Rebecca Solnit and Frédéric Gros have argued, can be a form of liberation through the crossing of spatial geographical and personal boundaries, and through the freedom afforded by simplicity and self-reliance. Yet walking also affords a particular kind of knowledge or insight, both of the self and of the walked landscape. The act of walking itself involves a kind of knowing that is both sensory, cognitive and embodied, reliant on physical sensation, movement, sight and smell as a medium for thought. Nature writers often describe this sort of knowledge as a process, rather than an outcome, and view it as ever-developing, and open-ended, rather than fixed, stable and finite.
“People exploit what they have merely concluded to be of value, but they defend what they love — and to defend what we love we need a particularising language, for we love what we particularly know.”
Wendel Berry

Walking can also be a way of retrieving, recuperating specific forms of knowledge about the natural world. In our late-capitalist, urbanized, and increasingly digital culture, time-honoured forms of knowledge of our natural surroundings are beginning to fall into abeyance. Words to describe the natural world, its flora, fauna, soil- and weather conditions are, as Robert Macfarlane noted in Landmarks, disappearing from our dictionaries and vocabularies at alarming rate and speed. If language does indeed shape perception, and if the limits of our language constitute the limits of our world, such a process of linguistic impoverishment must inevitably have a detrimental effect upon our relationship to nature.

Walking, then, Freya claims, can function as form of cultural resistance against environmental ‘forgetfulness’, by enabling an imaginative and affective re-possession of the landscapes that were shaped by centuries of human coexistence with the natural world. Beyond and behind the routes marked out on the Ordinance Survey map lies a myriad of itineraries and pathways, parish boundaries, pilgrimage routes and Holloways, many of them now sunk into oblivion. Taking imaginative possession of a landscape thus makes it possible to ‘read’ its physical and linguistic signs and features, to know the etymology of place names, and to understand how geography and environment evolved over time.  It is here that environmental activism and literary criticism converge. For the language of place, the ‘particularising language’ of which Wendel Berry speaks has common ground with literary criticism in its attention to what is historically specific, singular, and irreducible.

Such intimate attention to the particularity of place we can find for instance in the work of John Clare (1793-1864), perhaps England’s best, and certainly most radically innovative, nature poet. Clare was born in Helpston, Northamptonshire, and witnessed the transformation of the rural landscapes of his youth in the wake of the industrial revolution and the enclosure movement. As a naturalist, his knowledge far exceeds that of other Romantic poets like Wordsworth. Clare’s bird poems betray an intimate but entirely unsentimental understanding of animal behaviour, while a poem like ‘A Copse in Winter’ requires the reader to make the link between the woodland practice of coppicing, and the appearance of flowers in summer.

Yet Clare’s poetry does not simply celebrate the beauty of a vanishing world in a pastoral, elegiac mode, rather, it creates through its language a poetics of resistance. Clare’s highly personal, idiosyncratic spelling and frequent use of dialect words (eliminated by his editor John Taylor, but reinstated in most modern editions) shape a poetic voice that is as unique as it is specific to the particularities of place: only in Northamptonshire is a song thrush called a ‘throstle’, a ladybird a ‘lady-cow’. Local language, Clare knew, conveys forms of knowledge that is historically and locally specific, and which is often lost in attempts of classification or systematization. Throughout his career Clare rejected any form of language that was abstract and universalizing, and whose rules he associated with the rationalist, efficiency-driven impetus behind the enclosure movement. He had no patience with grammar, which he viewed as a tyrannical form of constraint on the freedom of language. A skilled herbalist, he was indifferent to the grand classificatory work of Linneaean botany, yet discovered in the vernacular language of plants and flowers something that filled him with delight, something which he regarded as a kind of poetry. Rather than nostalgic, or backward-looking, Clare’s poetic language is radical in the sense that it articulates a claim, made explicit in poems like ‘To a fallen Elm’, that the land belongs to those who truly know it, rather than to those who merely own it.

If you have any favourite literary quotes about woodlands, please send them to us at and we will share them.

Images in this post by Jo Dacombe.

This post was originally posted as a newsletter on 8 July 2017

Wednesday, 23 August 2017

Introducing Imagining Woodlands' collaborators: Suzi Richer

Scanning electron microscope image of pollen grains

Dr Suzi Richer works in palaeoecology, in particular studying sub-fossil* pollen grains to start to reconstruct past ecologies and environments.

Suzi is interested in how palaeoecology interacts with other disciplines to broaden understanding and interpretations of environments over time. She is interested in “flattening knowledge structures” and sharing knowledge, not just from experts such as archaeologists and biologists, but also from oral histories and people’s local knowledge of their area.

Recently Suzi, in conjunction with Dr Benjamin Gearey from University College Cork, Ireland, has been talking and writing about “ecocritical palaeoecology”, which broadly means the way that palaeoecology can contribute towards the way we think, write, speak and respond to current global ecological and environmental problems. This crosses scientific and archaeological study with cultural responses.

Suzi instigated the Imagining Woodlands project to explore how cross disciplines such as palaeoecology, art and literature, can interact to connect us to woodlands and examine our cultural perceptions of woodlands.  Suzi has extensive experience undertaking pollen analysis and studying woodland, and will bring her knowledge to the project.

Follow this link to see Suzi and her colleague Ben Gearey explaining the idea of ecocritical palaeoecology at the Theoretical Archaeology Group Conference last December - where Jo and Suzi met and first dreamed up the Imagining Woodlands project!

How do you imagine the woodlands of the past? Where do you think your idea of the past comes from and what are the cultural influences that affect this? Send us your thoughts at

Next update:  Introducing Dr Freya Sierhuis, Lecturer in literature at the University of York.

This post was originally posted as a newsletter on 23 June 2017.

Image by Dartmouth College Electron Microscope Facility - Source and public domain notice at Dartmouth College Electron Microscope Facility ([1], [2]), Public Domain,

*a stage before full fossilisation.

Tuesday, 22 August 2017

Introducing Imagining Woodlands' collaborators: Jo Dacombe

Imagining Woodlands is a cross-disciplinary project. Our next few updates will introduce each of the project collaborators, who all work in different areas and are coming together for this project, bringing their different perspectives to the work.

Old Law Beacons, Kings Wood, Corby 2014

First up is artist Jo Dacombe. Jo has created a number of art projects in and about woodlands over recent years. She is interested in the way that art can connect us with the sensory environment of woodlands and landscapes. Often Jo's art projects involve creative walks, participatory activity and moments to tune in to our sensory perception. She uses a variety of media and art forms, often as site specific work engaging with a sense of place.

The Hunter and the Hunted, Colwick Wood, Nottingham 2015
a storytelling walk by Sidelong

Jo collaborates often. She has been commissioned to work in woodlands to explore their history and heritage, through storytelling, family events, art installations in woods and through collaborating with other artists.

Jo is also interested in archaeology. She began working alongside archaeology in 2013, with her collaborative practice Sidelong with Laura-Jade Vaughan. Sidelong worked with Trent Archaeology to create a project about the caves of Nottingham.

This led on to Jo working as artist in residence alongside zooarchaeologists at the University of Leicester over two years, resulting in The Reliquary Project. Although this project pursued an interest in bones, the project also brought her back to landscape and thinking about how archaeologists read landscapes in different ways.

Bone Forest, drawing made for The Reliquary Project, 2016

The project also connected her with other archaeologists, including in the Wyre Forest and with the University of York. These archaeologists were working in woodlands and, with Jo's ongoing interest in woods and archaeology, their conversations began to form the Imagining Woodlands project.

For Imagining Woodlands, Jo is interested in ways in which she might respond artistically to the science and archaeological evidence of woods, and how a creative approach might connect people imaginatively with woodlands research.

Continuum, a time travelling woodland walk, Thoroughsale Wood, Corby 2017

Next update:  introducing project collaborator Dr Suzi Richer, palaeoecologist and research associate in Archaeology and Environment.

All images in this post by Jo Dacombe, except Sidelong photo taken by Matthew Vaughan.

This post was originally posted as a newsletter on 6 May 2017.