Edgelands: Altered by depictions through environmental, social and historic influences.

The word 'Edgelands', although not registered in the English dictionary, is a concept we are all familiar with. From Paul Rubens 'A View of Het Steen in the Early Morning' (Rubens, 1636) painted depiction of social hierarchies through a contrasting landscape, to Bernd and Hilla Becher's typographic photography of industrial structures, to the media and societies depiction of city outskirts, there are many factors that have influenced and moulded our perception of such landscapes. Coined by Paul Farley and Micheal Symmons Roberts (Edgelands: Journeys Into England's True Wilderness, 2011), Edgelands are increasingly prominent landscapes in the UK, marking the territory that remains of a forgotten, industrial heritage and the tarnished countryside. While often overlooked, there is a certain curiosity surrounding suburban edgelands, linking to human's desire to reflect personal flaws onto a landscape. This essay analyses how the reflection is conceptualised through generations of environmental change, photography, and social influence. Additionally, themes of human and environmental impact are explored; questioning how we have become accustomed to sights of destructed landscapes and whether this presents a bigger issue for future generations? Will this negatively affect their motivation in protecting the environment and alter their perception of the natural world? All are points that become more and more prevalent each year, with global warming causing rising sea levels, droughts, heatwaves and wildfires across the world (What are the effects of climate change? | Greenpeace UK, 2022). 

'Edgelands: Journeys Into England's True Wilderness' (Symmons Roberts and Farley, 2011) is a personal narrative exploring years of research, taking contextual influences and artist viewpoints into account to deliberate the true perception of their formulated definition. The book introduces the writers' interpretation of Edgelands and how we all connect to such a landscape; leaving the city via a busy motorway and turning off onto a quieter side street or country lane, creating a juxtaposition between the city and the countryside. Whether it's a maze of industrial plants, streets in the suburbs or a singular house bordering rolling fields, in Farley and Roberts's depiction, these are all areas with ties to the term 'Edgeland'. It's a concept born through curiosity for these forgotten landscapes and how we perceive them- even without a dictionary definition to abide by. Often left wondering 'How did I get here?', it's the journey that defines Edgelands, the sights you see, the way people act, how the landscape changes and how your emotions are altered by this shift. While the concept is relatively undefined and open to interpretation, the same image will likely appear in our imaginations. 

'Somewhere in the hollows and spaces between our carefully-managed wilderness areas and the creeping, flattening effects of global capitalism, there are still places where an overlooked England truly exists; … complicated, unexamined places that thrive on disregard.'

 -Edited extract from "Edgelands: Journeys Into England's True Wilderness, 2011.

Environmental Impact 

As stated by Tom Bristow relating to rural and urban landscapes, 'The imaginary realm that seeks “romance” on the canal’s narrowboats is open to intertextual geocritical scrutiny' (Ecocriticism and Geocriticism, 2016), demonstrating an adoration and romanticism for such areas. They are often the subject of a photographer's lens or a painter's muse. Through art, painters and photographers have a platform to convey an atmosphere; whether it is an abstract representation of a place or captures it's true essence, their perception is often the only reflection of a place that the audience will see. It reflects the ways in which an audience can have a visceral and emotional connection to an unexplored landscape. While many photographers romanticise a landscape, it is increasingly apparent of the power that photography has in altering our perceptions and ideologies of cities and countryside's. Robin Friend is a British photographer who travels the country led by his interest in exposing how humans negatively impact the environment. Friend uses photography to document a raw, unfiltered perspective, navigating the perceptions of idyllic countryside and reality. Whether it's a shipwreck, stack of palettes or cows grazing next to pylons, curiosity lies at the forefront as he challenges his audience to question the effects they have on nature. 

Figure 1: Cliffe, Robin Friend, 2007.

Through his latest book 'Bastard Countryside' (Friend and Macfarlane, 2018), Friend looks to contrast  our view of the archetypal British landscape. With the expansion of cities, cars and an ever-increasing need for accommodation, it is clear to see how this has impacted the environment, with miles of telephone lines creating a new skyline in the countryside, and cars abandoned on back roads heading out of the city. The expansive nature of global industrialisation is blurring the boundaries between urban and natural landscapes; further highlighting the fragility of edgelands and how our advances can negatively impact the environment.

'The distinction between the social and the natural is itself dubious and unhelpful, and it becomes increasingly untenable as the twenty-first century wears on.' 

-Tally and Battista, 2016.

Figure 2: Cattle, Turbine, Pylon, Robin Friend, 2016.
Figure 3: Gaewern Slate Mine, Corris, Robin Friend, 2014.

With so much environmental destruction happening in both the countryside and city, it's easy to become accustomed to such sights and overlook them as everyday occurrences. This idea of destruction becoming the norm shows how edgelands are not only changing our physical world, but also our outlook and perception of what is acceptable. An example of this is looking at the Covid 19 Pandemic, which among many negative impacts, turned cities into ghost towns. In 2020, Newcastle saw a wild deer roam the city centre, far from the safety of the countryside (Lost deer spotted wandering the empty streets of Newcastle during the coronavirus lockdown, 2020). Inner cities are seeing more wildlife with peregrine falcons and foxes roaming the cities in hunt of food and shelter. Could this be nature's way of taking a stand and showing us the impacts we have on their habitat? With the city becoming a refuge for wildlife driven out of an increasingly hospitable countryside, it poses the question of whether future generations will be able to define urban from rural landscapes or if the boundaries will have crossed even further. 

To contrast the negativity surrounding our impact on the environment, there is a certain interest and wonder for the new areas, or edgelands, that have been created. These landscapes have populated the media as favoured photoshoot locations and points of photographic interest, therefore reaching a mass audience and changing the way we view them. Jean-Marc Bustamante is a French artist and photographer who is drawn to the power photography poses in framing a selection of reality, using it instead as a metaphor. Bustamante shows the perception of an alternate atmosphere in his series' 'Something is Missing' (Bustamante, 1999) and 'Bitter Almonds' (Bustamante, 1997), which both portray the subtle poetry and overlooked occurrences of everyday life. Claiming he tends to 'see the world inside a frame' (Jean-Marc Bustamante: The Notion of Landscape, 2014), it highlights our ability to capture a memory and all of the emotion felt in that moment, forever. Both books show photography collections from his travels, exuberating appreciation for nature's position in urban landscapes. 

'Where there has been a lot of destruction, where nature is no longer wild.'

-Kinley, 2018.

The idea of putting a landscape in a frame, no matter how damaged that landscape may be, relates to all of us. We have the ability to convey an alternate reality through photography, sometimes showing places in a better light than they are witnessed in real life. It is down to photographers like Friend and Bustamante who show the consequences of masking reality. With the rapid rise in social media, it makes you question how much you can believe online, and if a place is real or just a representation?

Figure 4: Bitter Almonds, Jean-Marc Bustamante, 1997.

Figure 5: Bitter Almonds, Jean-Marc Bustamante, 1997.

Figure 6: Bitter Almonds, Jean-Marc Bustamante, 1997.

'It often contained decay and stasis, but could also be dynamic and deeply mysterious' (Symmons Roberts and Farley, 2012), a phrase used to define the word 'edgelands' that links to the connotations of the imagery above. The above images (Bustamente, 1997) portray the land between rural and urban landscapes. Through exploration of Buenos Aires, Miami and Tel Aviv, Bustamante captures a beautifully raw perspective of each location. With such vibrant colours and diverse landscapes, you can not help but be drawn in. It is incredible to see how nature has adapted and entangled itself around rigid forms and buildings, blurring the boundaries and showing that nature needs us just as much as we rely on it. A large portion of these images show environmental destruction: leftover building materials; derelict car parks overrun with vegetation; abandoned buildings with trees growing through the roofs; collapsed and eroded walls- and yet we can still see the beauty. This concept will continue to challenge people, questioning how we are able to see through our destructive ways, past the guilt, and still feel a connection to a place we may not have ever been to. In an interview, Bustamante revealed that the 'Weight of the image is related with life, death and memory'(Jean-Marc Bustamante Interview: The Notion of Landscape, 2014). Is this an insight into his ideology surrounding photography and why he feels its necessary to document these places? Photography allows us to see as the photographer sees, giving us an insight into all the emotions felt at that time. Regarding the photos above, Bustamante shows an adoration for the imperfect; the reassurance that places aren't perfect encourages the audience to think differently about themselves.

So much destruction and yet in everyday life we are able to overlook it and continue as normal. This in itself presents the issue of us becoming accustomed to such sights, questioning how we view nature and what the world will look like for future generations.

'Moments in which the expected narrative of the landscape is rudely interrupted.'

Loose Joints Publishing, 2022.

Historic Influence

Bernd and Hilla Becher are a collaborative duo of German conceptual artists who travelled Europe and the US through the 1950s and 60s. Together, they embarked on an architectural photography project that would unknowingly last for over 40 years and make them some of the most prominent photographers of the 20th Century, documenting 19th-century industrial structures, many of which have now been demolished. The Becher's dedicated their lives to preserving history after realising the impending demolition of industrial structures following the collapse of Germany's coal and steel markets (Bernd and Hilla Becher: Landscape/Typology | MoMA, 2008). This adds to their prominence as they archived architecture that's harder to find today, 'Our camera does not produce pretty pictures' (Bernd Becher, 1931-2007), allowing us to reflect and admire the overlooked beauty of these structures. The fixed vantage point and monochromatic photos are directly recognisable, showing the scale in a sculptural way. Additionally, the wide-angled shot positions the viewer directly in front of the structure, giving a sense of scale and impact. The Becher's adoration for human creation was remarkable, it shows how time moves so quickly and we can lose track of our heritage without people to protect it. Their work continues its prevalence in today's society, reminding us of the past and the double-edged sword concerning urbanisation and edgelands.

'The artists' intention is not to depict subjective responses but to describe the outside world in the most precise terms possible.'

-Suzanne Lange, 2004.

The Becher's were the first artists to collect like imagery in typological series', classifying the structures by their purposes while showing the idiosyncrasies of each, many of which had already been demolished on their return. 'Places of possibility, mystery, and beauty' (Farley and Roberts, 2011), a phrase that coherently portrays these photos, such mystery in the ways we will never explore them, and such beauty in their mesmerising architecture and stature. To comprehend that many of these structures no longer exist is unimaginable, ever increasing the influential work of the Becher's and their role in preserving history. 

Figure 7: Winding Towers, Bernd and Hilla Becher, 1966-97.

Figure 8: Water Tower, Trier-Ehrang, Germany, Bernd and Hilla Becher, 1982.

Another photographer with a fascination for forgotten industry is Henk Van Rensbergen. In his latest book 'Abandoned Places' (Rensbergen, 2020), he collated photos from around Europe, capturing the tension and atmosphere felt in the landscape and portraying it to the audience. 

'For me, the challenge in photography was not simply to record what was there to see, but to reproduce the atmosphere.'

 Rensbergen, 2020. 

While most of us will never visit such places, the years of decay and abandonment only increase our curiosity, wondering how such beautiful structures are not preserved for future generations to experience. It shows how fast the world moves, and how the nature of this negatively affects our history. Rensbergen's photos portray a certain vulnerability in the way he frames the landscape; showing the enormity of both human and natural destruction through fragmented landscapes. 

Figure 9: Anderlues, Belgium, Henk Van Rensbergen, 2002.

 Figure 10: Tkvarcheli Power Plant, Abkhazia, Henk Van Rensbergen, 2018.
Figure 11: Tkvarcheli Railway Station, Henk Van Rensbergen, 2018.

Figure 12: Let Nature in, Italy, Henk Van Rensbergen, 2011.
Figure 13: Ivy Corridor, Belgium, Henk Van Rensbergen, 2009.

'Time and again, we find a place that is difficult to pin down and define as poetry, but like poetry, you'd know it when you saw it.' (Edgelands: Journeys Into England's True Wilderness, 2011). As conceptualised by Paul Farley and Micheal Symmons Roberts, Edgelands will never have a defined location; they are constantly moving, altered by human and natural influences. It is hard to judge how similar landscapes were regarded hundreds of years ago, however, art gives an indication of the ways in which landscapes were altered through location and class hierarchies. One such example is 'A View of Het Steen in the Early Morning' (Rubens, 1636), showing Rubens elevated position in the social hierarchy, the rolling hills and manor showcasing his peace and prosperity. Overlooking the perfectly kept grounds and woodlands surrounding the manor, Rubens highlights the divide between the rich and the poor, with different colours used to represent the effect of economic status. While the manor sits beautifully in the countryside, the gardeners and workers blend into the earth in the foreground, suggesting they are overlooked. Art is open to interpretation but it is clear that artists throughout history have used influences through colour and nature to suggest social standings.

 Figure 14: A View of Het Steen in the Early Morning, Paul Rubens, 1636.

Social Impact

This juxtaposition between industrial structures and the environment shows how edgelands continue to change and develop; they are always on the move without the consideration of impacts left on the environment. As time has moved on, the rise in digital technology and mass urbanisation has resulted in these industrial wastelands. 'By 2050, it’s projected that 68% of the world’s population will live in urban areas' (Our World in Data, 2019). While we continue to develop with the economic benefits of city living, it has left a trail of beautifully constructed yet abandoned structures scattered across the country. National Geographic's issue (Cities: Ideas for a Brighter Future, 2019) questions this notion, looking at what the future holds for cities and the two-thirds of us who will live in them. It argues the pros and cons for both humans and urban areas, and the 'trade-offs between individual freedom and community... social ties and anonymity' (Diamond, 2019). While this is a separate subject, it looks at things from an alternate perspective, thinking not only about the impact we have, but also how living in such densely populated areas contrasts the freedom and anonymity granted by rural living. From a social perspective, it poses the question of whether we are all morphing into the same person due to our living environments, and the immediacy granted by technology is altering the way we see the world. 

Figure 15: Verdant Victoria Peak, Hong Kong, Nicolas Ruel, 2019.

This year's final of Landscape Artist of the Year saw artist Elisha Enfield travel down the Rochdale Canal, gathering inspiration for the final £10,000 commission for Manchester Art Gallery. Along the 32 miles long canal (Review: Elisha Enfield LAOTY 2022 - The Winner's Commission, 2022) it showed the area's lost industry entwined in the landscape. One such building was The Rock Nook Mill. Constructed in 1866, it produced technical textiles (Rock Nook Mill - Littleborough - June 2015, 2015) until it was destroyed by a fire in 2015. What remains of the building still stands today in Littleborough much to the displeasure of people living nearby who refer to it as a 'death trap' (Rock Nook Mill is a “death trap”, say residents, 2016). Like many of the industrial structures left to ruin in our English countryside, it shows how careless we can be towards looking after places that should be refuges for wildlife, without the dangers of crumbling structures. Enfield managed to capture this juxtaposition between the village Littleborough now and the areas industrial revolution and Summit Tunnel fire in 1984, forever changing the canal and its landscape (Sky Arts - Landscape Artist of the Year - Winner’s Film — Elisha Enfield, 2022).

Figure 16: Rock Nook Mill, Littleborough

Figure 17: Elisha Enfield, Landscape Artist of the Year 2022, sourced from Philip Westcott's blog

While the term edgelands has many ideologies, there is common iconography in the unkempt nature of such places. Pylons, landfill sites, overgrown allotments, back alleys entangled in vines and skips dumped in obscure locations; all are places with negative connotations. But why is it that we are made to fear these places, that the danger outweighs the desire for exploration? Focusing on films, edgelands are depicted in very similar ways, usually associated with crime scenes, dangerous areas to avoid, or in this case, a planet left behind. Pixar's 2008 film Wall-E (Wall-E, 2008) highlights the fragility of our planet with humans abandoning Earth for an industrial clean-up to travel around the universe until signs of life are found for them to return home. The film challenges themes of consumerism, nostalgia and hope in a way young audiences will understand. It is interesting to see how the landscape changes through colour stories, creating continuity while altering the atmosphere to mimic the negative impacts of the forgotten wasteland. 

In Wall-E, Earth is abused and forgotten, much like Bernd and Hilla Becher's monochromatic photographs showing the colour drain from a landscape. This effect, while solemn and sober, presents a true perspective to the audience. In many dystopian films, the landscapes appear to be abandoned, highlighting the enormity and scale of the structures left behind. Although this film is fictional, it is one of hundreds that influence the way we look at the world. For example, dystopian films like Divergent (Divergent, 2014) and The Maze Runner (The Maze Runner, 2014) present similarly derelict landscapes where cities have became wastelands; it makes you question whether seeing these sights in films makes people more accustomed to it and therefore more likely to overlook it?

Figure 18: Wall-E colour scripts, Pixar Studios, 2008.

Figure 19: Wall-E, Earth, Pixar Studios, 2008.

To conclude, there is no disputing the edgelands can be beautiful places; places where nature has entangled its way around urban structures and shaped new landscapes, but the reality that this existence has been forced onto nature through our mistakes becomes more prevalent each year. Our need to develop, modernise, expand and minimalize has left fractured landscapes around the world. Each reference shows how edgelands have been portrayed through time, all leading up to Paul Farley and Michael Symmons Roberts who brought the terminology into focus in 2011. 

One thing that is frequently apparent in these studies is how fragile life is. Whether positively or negatively, both humans and the environment are affected by time, with the power to build upon or destruct a landscape. As written in Here We Are, 'Things can sometimes move slowly here on Earth. More often, though, they move quickly, so use your time well.' (Jeffers, 2017). Through time we have witnessed edgelands move and descend upon rural and urban landscapes while industrial structures have suffered the consequences of being forgotten in time  Its important to recognise that in order for things to improve, our ideology surrounding edgelands needs to adapt, looking at how we can create boundaries for rural and urban areas to thrive. While there is no conclusive answer, through art we witness a shift in the way edgelands are being perceived, artists continue to capture the beauty in the destruction while highlighting that the fragility of our planet. 

'The silence says more than all the noise that was ever there.'

Henk van Rensbergen, 2014.

Faro, Portugal, Amelia Palmer, 2019

Numerical Bibliography

Figure 1: Friend, R., 2007. Cliffe. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/umt8u6v37pje5sxmzd9k41tzzhzi2y> [Accessed 16 March 2022].

Figure 2: Friend, R., 2016. Cattle, Turbine, Pylon. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/gqw9t03rpei9tpopmbrhpohcndjjd0> [Accessed 16 March 2022].

Figure 3: Friend, R., 2014. Gaewern Slate Mine, Corris. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/8ui3bd9en5szdl4djz6foe8vnhu5o9> [Accessed 14 March 2022].

Figure 4: Bustamante, J., 1997. Amandes Ameres: Bitter Almonds, Bittere Mandeln. Phaidon Press Ltd.

Figure 5: Bustamante, J., 1997. Amandes Ameres: Bitter Almonds, Bittere Mandeln. Phaidon Press Ltd.

Figure 6: Bustamante, J., 1997. Amandes Ameres: Bitter Almonds, Bittere Mandeln. Phaidon Press Ltd.

Figure 7: The Museum of Modern Art. 2021. Bernd Becher, Hilla Becher. Winding Towers. 1966-97 | MoMA. [online] Available at: <https://www.moma.org/collection/works/136060> [Accessed 17 March 2022].

Figure 8: Becher, B., Becher, H. and Lange, S., 2014. Bernd & Hilla Becher: Basic Forms. München: Schirmer Mosel.

Figure 9: Rensbergen, H., 2016. Abandoned places. Belgium: Lannoo.

Figure 10: Rensbergen, H., 2016. Abandoned places. Belgium: Lannoo.

Figure 11: Rensbergen, H., 2016. Abandoned places. Belgium: Lannoo.

Figure 12: Rensbergen, H., 2016. Abandoned places. Belgium: Lannoo.

Figure 13: Rensbergen, H., 2016. Abandoned places. Belgium: Lannoo.

Figure 14: Rubens, P., 1636. A View of Het Steen in the Early Morning. [Oil on Oak].

Figure 15: Goldberg, S. and Ruel, N., 2019. Cities: Ideas for a Brighter Future. The National Geographic, pp.4,5.

Figure 16: Derelict Places. 2015. Rock Nook Mill - Littleborough - June 2015. [online] Available at: <https://www.derelictplaces.co.uk/threads/rock-nook-mill-littleborough-june-2015.31260/> [Accessed 22 May 2022].

Figure 17: Westcott, P., 2022. Visit to Manchester Art Gallery. [online] Philip Westcott. Available at: <http://www.philipwestcott.co.uk/blog> [Accessed 20 May 2022].

Figure 18: Pixar Animation Studios. 2022. Disney Pixar Wall-E. [online] Available at: <https://www.pixar.com/feature-films/walle> [Accessed 15 February 2022].

Figure 19: Pixar Animation Studios. 2022. Disney Pixar Wall-E. [online] Available at: <https://www.pixar.com/feature-films/walle> [Accessed 15 February 2022].

Alphabetical Bibliography

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Becher, B., Becher, H. and Lange, S., 2004. Bernd & Hilla Becher: Basic Forms Of Industrial Buildings. München: Thames and Hudson.

Blythe, F., 2020. Don McCullin spent 60 years capturing bloodshed and desperation—now he finds solace in the countryside. [online] Document Journal. Available at: <https://www.documentjournal.com/2020/01/don-mccullin-spent-60-years-capturing-bloodshed-and-desperation-now-he-finds-solace-in-the-countryside/> [Accessed 15 February 2022].

Bristow, T., 2016. Affective Edgelands: Wildness, History, and Technology in Britain’s Postindustrial and Postnatural Topographies. [online] Springer Link. Available at: <https://link.springer.com/chapter/10.1057/9781137542625_5> [Accessed 10 March 2022].

 

Bristow, T., 2016. Ecocriticism and Geocriticism. New York: Palgrave Macmillan, p.78.

 

Bustamante, J., 1997. Amandes Ameres: Bitter Almonds, Bittere Mandeln. Phaidon Press Ltd.

 

Bustamante, J., 1999. Something is Missing. Salamanca: Ediciones Universidad de Salamanca.

 

Charles Wilson, J., 2018. Dystopian shots of Britain’s rural edgelands: Bastard Countrysides. [online] Huck Magazine. Available at: <https://www.huckmag.com/art-and-culture/photography-2/dystopian-shots-of-britains-rural-edgelands/> [Accessed 8 March 2022].

Derelict Places. 2015. Rock Nook Mill - Littleborough - June 2015. [online] Available at: <https://www.derelictplaces.co.uk/threads/rock-nook-mill-littleborough-june-2015.31260/> [Accessed 22 May 2022].

Diamond, J, 2019. We We Gain or Lose in Cities. National Geographic, pp.17, 18.

Divergent. 2014. [DVD] Directed by N. Burger. United States: Lionsgate.

Elisha Enfield. 2022. Sky Arts - Landscape Artist of the Year - Winner’s Film — Elisha Enfield. [online] Available at: <https://elishaenfield.co.uk/about/w5mvj2ly40dwosz9hn80cznzuov1mg> [Accessed 20 May 2022].

Farley, P. and Symmons Roberts, M., 2012. Edgelands: Journeys Into England's True Wilderness. Bath, England: Random House, p.10.

Farley, P. and Roberts, M., 2011. Edgelands. Bath: Vintage, p.6.

Frances Spalding, Review of Edgelands: Journeys into England’s True Wilderness, by Paul Farley and Michael Symmons Roberts, The Independent, February 25, 2011.

Friend, R. and Macfarlane, R., 2018. Bastard countryside. Loose Joints.

Friend, R., 2007. Cliffe. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/umt8u6v37pje5sxmzd9k41tzzhzi2y> [Accessed 16 March 2022].

Friend, R., 2014. Gaewern Slate Mine, Corris. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/8ui3bd9en5szdl4djz6foe8vnhu5o9> [Accessed 14 March 2022].

Friend, R., 2016. Cattle, Turbine, Pylon. [image] Available at: <https://www.robinfriend.co.uk/bastard-countryside/gqw9t03rpei9tpopmbrhpohcndjjd0> [Accessed 16 March 2022].

Goldberg, S., 2019. Cities: Ideas for a Brighter Future. National Geographic,.

Google Books. 2022. Edgelands: Journey into England's True Wilderness. [online] Available at: <https://books.google.co.uk/books?hl=en&lr=&id=Rlf07TWw0JkC&oi=fnd&pg=PA1&ots=Ir0NHQxfRA&sig=cwRjw_ikKDK-q2sNXdmWSRuHYf0&redir_esc=y#v=onepage&q&f=false> [Accessed 27 February 2022].

Greenpeace UK. 2022. What are the effects of climate change? | Greenpeace UK. [online] Available at: <https://www.greenpeace.org.uk/challenges/climate-change/effects-climate-change/?gclid=Cj0KCQiAmpyRBhC-ARIsABs2EAoE7JO-23jbIra8YoJbK0PfY5I-3hOA4J2C00aJh3slrVam7cEoL_saAgf5EALw_wcB> [Accessed 8 March 2022].

Jeffers, O., 2017. Here We Are, Notes for Living on Planet Earth. Great Britain: HarperCollins Publishers Ltd, pp.26, 27.

Kinley, C., 2018. ART NOW: JEAN-MARC BUSTAMANTE SOMETHING IS MISSING. [online] Tate. Available at: <https://www.tate.org.uk/whats-on/tate-britain/art-now-jean-marc-bustamante> [Accessed 10 March 2022].

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McIntyre, A., 2020. Lost deer spotted wandering the empty streets of Newcastle during the coronavirus lockdown. [online] Chronicle Live. Available at: <https://www.chroniclelive.co.uk/news/north-east-news/lost-deer-spotted-wandering-empty-18277951> [Accessed 7 March 2022].

McLenachan, D., 2022. Exploring the Rochdale Canal - Talking About My Generation. [online] Talking About My Generation. Available at: <https://talkingaboutmygeneration.co.uk/exploring-the-rochdale-canal/> [Accessed 30 March 2022].

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Rensbergen, H., 2020. Abandoned Places. Belgium: Lannoo.

Ritchie, H. and Roser, M., 2019. Urbanization. [online] Our World in Data. Available at: <https://ourworldindata.org/urbanization#what-share-of-people-will-live-in-urban-areas-in-the-future> [Accessed 16 March 2022].

Rochdaleonline.co.uk. 2016. Rock Nook Mill is a “death trap”, say residents. [online] Available at: <https://www.rochdaleonline.co.uk/news-features/2/news-headlines/100519/rock-nook-mill-is-a-%E2%80%9Cdeath-trap%E2%80%9D-say-residents> [Accessed 20 May 2022].

Rubens, P., 1636. A View of Het Steen in the Early Morning. [Oil on Oak].

Stone, D. and Ruel, N., 2019. Nicolas Ruel takes pictures of cities in a single eight-second exposure. [online] The National Geographic. Available at: <https://www.nationalgeographic.com/magazine/article/nicolas-ruel-shows-pictures-of-cities-in-single-eight-second-exposure> [Accessed 14 April 2022].

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