Extraction and submersion, surface and depth. Using photographic practice to explore literary and folkloric imaginings of post-industrial landscape.

这个项目是对威尔士中部和西米德兰兹郡被掩埋和淹没的后工业景观的探索，通过作家弗朗西斯·布里夫·杨(Francis Brif Young，1884-1954)的WRI&GT；NGS连接起来。由于对威尔士地区Vyrnwy、Tryweryn和Elan的水库遗址被水淹没，通过达德利的矿山填充物掩埋的景观的担忧，调查将探索他们的历史和缺席是如何被看到的，通过档案研究、文学和民俗投资以及摄影实践，穿越这些令人难以置信的景观。弗朗西斯·布里夫·杨写了一系列以从Elan Valley到伯明翰的渡槽路线为背景的《Mercian》小说，从小见证了正在进行的大量工作。在两部小说(Young&Young，1913年，Young 1932)中对大坝进行了程式化的描述。从19世纪90年代到20世纪60年代，从19世纪90年代到20世纪60年代有争议的特雷沃恩强制洪水，伯明翰公司在1893-1904年建造的Elan水库是英国人在威尔士进行的许多水上活动之一。每一次洪水都导致社区流离失所和地形的根本变化，对资本主义产品和风景如画的壮丽风景之间的关系进行了调查。杨的小说以其Evoca&gt；ve和特定的风景而闻名，这是一种非人类的视角，开启了对后人类景观的理解(McCully，1996)。扬认为，水库的修建使广阔的地表水中的自然景观增加了一倍，这突显了一个由科技创造的景观的复杂意义，现在是旅游景点，其终点和起点指向了我们当前的生态危机。尽管有人对他的黑人乡村小说(Jay，1975)的地理背景和关于灌木丛和其他闹鬼景观的短篇小说(Valen&Gt；Ne，2017)进行了一些探究，但这些缺乏深入的研究，没有地理上的投入。进入大坝小说，这为基于地点的调查提供了丰富的基础。

This project is a crea>ve and cri>cal enquiry into the buried and submerged post-industrial landscapes ofMid-Wales and the West Midlands, linked through the wri>ngs of author Francis BreF Young (1884-1954). Driven by a concern with the now inaccessible landscape, submerged by water in reservoir sites inthe Welsh areas of Vyrnwy, Tryweryn and Elan, buried through in-fill in mines in Dudley, the enquiry willexplore how their histories and absences are made visible, traversing these con>ngent landscapesthrough archival research, literary and folkloric inves>ga>on, and photographic prac>ce.Francis BreF Young wrote a series of 'Mercian' novels set along the aqueduct route from the Elan Valleyto Birmingham, having witnessed the vast work in progress as a child, with fic>onalised accounts of thedam build in two novels (Young & Young, 1913, Young 1932). The Elan reservoirs made by theBirmingham Corpora>on, 1893-1904, evidence one of many instances of water collec>on in Wales byEnglish ci>es, from the 1890s through to the controversial compulsory flooding of Tryweryn in the 1960s.Each instance of flooding led to the displacement of communi>es and fundamental changes to thelandscape, offering an enquiry into the rela>onship between capitalist produc>on and picturesque andsublime landscape. Young's novels are notable in their evoca>ve and specific landscapes, a non-humanperspec>ve opening an understanding of the post-human landscape (McCully, 1996). Young's asser>onthat the building of the reservoir creates a doubling of the natural beauty of the landscape, in themirrored expanse of surface water, highlights the complexi>es of meaning in a technologically producedshi]ing landscape, now tourist site, whose ends and beginnings point to our current ecological crisis.Whilst there has been some enquiry into the geographies of his Black Country novels (Jay, 1975) and ashort chapter on the haunted landscapes of Undergrowth and others (Valen>ne, 2017), these lack closereading, with no geographic inves>ga>on into the dam novels, which provide a rich basis for place-basedenquiry.