- Julian Walker
- I lead workshops at the British Library, on literature, language, art, history, and the culture of the book; and teach the history of printing at other institutions. I research language usage during the First World War, and lead the Languages and the First World War project. Author of Discovering Words, Discovering Words in the Kitchen, Evolving English Explored, Team Talk - sporting words & their origins, Trench Talk - the Language of the First World War (with Peter Doyle); How to Cure the Plague; The Finishing Touch; and Words and the First World War. As an artist I work in performance, public engagement, and intervention using drawing, curating, text, changing things and embroidery.
Thursday, 13 November 2014
Some initial thoughts about the symposium ‘An Eye and an Ear for Conflict’ at Reading University, 12 November 2014
Looking for a link between the various forms of visual representation of conflict considered in the papers given by Paul Gough, George Butler and Lisa Purse, I found myself thinking about a continuum that stretched from painting, through drawing, photography, and phone-cam video, to CCTV. We did not really consider the place of the most impersonal of visual surveying formats – CCTV, and various forms of geo-surveying such as street-view or satellite physical representation, all of which depend on a human framing process creating a gaze. However, the relationship of all of these media/formats to concepts of ‘truth’, ‘authenticity’, ‘reality’, lying within some kind of constructed impersonality, hangs over all of these.
The ultimate purpose of armed conflict in territorial terms, and in hearts and minds terms, is to create an absence. An absence of the body of the enemy, by whatever means necessary (after which '"we" can go home' - and thus also vacate the space), or an absence of the ideology that conflicts with that of the protagonist. Absence in the empty spaces in the drawings of George Butler, and in the rapidly vacated streets in the film clips we looked at of fictional films set in current Iraq, reflect this aspect of war. In this light, the First World War paintings of Paul Nash, criticised by some for the absence of the human, appear to me to direct the gaze at the core of armed conflict, the landscape that is not just empty, but emptied. They match Nash’s description of the country as ‘unspeakable’ and ‘utterly undescribable’ – what these words do is utter the absence of words. Absence is a trope we find again and again, in First World War soldiers’ inability or unwillingness to describe the situation (see Private W Kirk’s words in yesterday’s post), in veterans’ inability and unwillingness to talk about their experiences to the other (the non-combatant) after the war, and in the empty spaces at the core of so many major war memorials (all of these are explored further in the afterword of Trench Talk).