Archive for Visual Materials
One hundred years ago this winter, two polar expeditions disembarked on the northern edges of the Ross Ice Shelf in Antarctica with the goal of reaching the South Pole. One party, led by Norwegian explorer Roald Amundsen, reached 90º S on 14 December 1911. The second party, led by British officer Robert Falcon Scott, arrived a month later on 17 January 1912. Amundsen and his men returned to announce their victory, while Scott and his party of four men died on the trek back, succumbing to starvation and cold.
The meaning of Antarctic exploration has been cast in the forge of the Scott-Amundsen race ever since. There are good reasons for this. The event was significant geographically: representing the attempt to erase the last, substantive terra incognita from the modern world. It was also important politically: highlighting the competition between different Western powers on the eve of the Great War. For historians, it offered a way to demarcate the eras of exploration: signaling the key event in Antarctica’s “Heroic Age” and capping the end of a century of intense polar exploration. Lastly, it offered a great story: in the great race to the South Pole, writers have found heroes, villains, experts, and bumblers toiling on a landscape both severe and sublime.
Yet Scott and Amundsen were not the first to understand Antarctica’s power as a canvas of the imagination. Three hundred and forty years before Robert Scott and Roald Amundsen raced across Antarctica, this southern world filled the mind of Abraham Ortelius as he crafted his magisterial atlas, Theatrum Orbis Terrarum (The Theater of the World). Terra Australis, as Antarctica was then called, sprawled over the page of Ortelius’s world map. Its ragged coastline reached South America and brushed up against the shores of New Guinea and the Spice Islands. It was a polar continent, but it was also a tropical one, crossing the Tropic of Capricorn in the western Pacific to come within twenty degrees of the equator. Even accounting for the distortions of map projection, Terra Australis was a vast place, dwarfing the other continents of the world.
Despite its imposing form, however, Terra Australis was built on fragile empirical foundations, something that Ortelius knew when he published the atlas. The title page of Theatrum, which depicts the continents in allegorical form as goddesses, expresses his ambivalence about the southern continent. At the top of the page, Europe sits on her throne, while Asia and Africa, semi-clothed and semi-barbarous, stand beneath her. At the bottom of the page reclines America the cannibal, naked except for her loin cloth. Terra Australis stands next to her, a figure incompletely revealed in a block of marble, a continent glimpsed but still unknown.
In seeing explorers as sculptors, Ortelius was probably thinking about the sculptors of his day, artists like Michelangelo who had been moved by the spirit of Neo-Platonism and who saw it as their task to “liberate the figure imprisoned in marble.” From this perspective, the congruence between the artist and explorer was easy to see: they were both the messengers of objective truth, vectors of knowledge rather than its creators. Terra Australis waited for the explorer to chisel her out of the hard whiteness of high latitudes, revealing her true form to the world.
Yet Ortelius’s allegory of Antarctica carries different meanings today, a time when artists do not often describe their work as the liberation of perfect forms or pre-existing ideas, but as creative and subjective acts. If sculptors fashion their figures rather than reveal them, the half-rendered figure of Terra Australis has a different message. In order to bring this continent to life, the allegory suggests, the explorer must envision it and give it shape. Its storms, mountains, and coastlines – its very identity as a place – emerge as the vision of its creator, subject to ideas, expectations, and beliefs. The marble is not silent, of course. The continent of Antarctica, like every artistic medium, carries its own powerful agency (as Scott and his party would attest) imposing its own limits on the form revealed.
Had Ortelius been alive in 1912, the year of Scott and Amundsen’s great race to the South Pole, I suspect he would have felt the impulse to finish his Antarctic goddess, to give the continent her final unchanging and eternal form, installing her in his allegorical pantheon like a stone deity in the temple of Olympus. Yet the continent of Antarctica is not so fixed. While its coastlines and topography are now stable enough to secure within the pages of the modern Atlas, its meanings are not.
The history of exploration does not have its own departments in universities. It does not really exist as a historical sub-discipline either, at least in the way that formalized fields such as labor history, women’s history and political history do. Instead, the history of exploration is a disciplinary interloper, a subject taken up by many fields such as literary studies, anthropology, geography, and the history of science. Each brings its own unique perspective and methods. Each has its own preoccupations and biases.
All of which makes the work of Felix Driver, professor of human geography at Royal Holloway, University of London, especially important. While Driver has covered many of the meat-and-potatoes subjects in exploration: navigation, shipwrecks, and biographical subjects such as Henry Morton Stanley and David Livingstone, he has framed them in the broadest context: through the visual arts, postmodern theory, social history, and historical geography.
He is the author of many books and articles including Geography Militant: Cultures of Exploration and Empire. He is also the co-editor of Tropical Visions in an Age of Empire which came out with University of Chicago Press in 2005.
At the same time, Driver has worked to bring these subjects to the attention of the public, supervising the new Royal Geographical Society exhibition, Hidden Histories of Exploration. The exhibition, which opened on October 15, “offers a new perspective on the Society’s Collections, highlighting the role of local inhabitants and intermediaries in the history of exploration.”
Driver took some time to speak with me about the exhibition and his work on exploration.
Welcome Felix Driver.
What inspired the Hidden Histories exhibition?
A conviction that the history of exploration was about a wider, collective experience of work and imagination rather than simply a story of lone individuals fighting against the odds. The idea of ‘hidden histories’ has an innate appeal – it suggests stories that have not been heard, which have been hidden from history, waiting to be uncovered. It has already provided the RGS with a model for a series of exhibitions linking aspects of their Collections with communities in London. The Society’s strong commitment to public engagement in recent years provided an opportunity for a more research-oriented exhibition which asked a simple question: can we think about exploration differently, using these same Collections which have inspired such great stories about heroic individuals? This was a kind of experiment, in which the Collections themselves were our field site: together with Lowri Jones, a researcher on the project, we set out to explore its contours, trying to make these other histories more visible.
Hidden Histories uses RGS collections to look at “role of local peoples and intermediaries in the history of global exploration.” Those of us who study exploration get excited by this, but how do you pitch it to the general public? How do you engage the exploration buff interested only in Peary, Stanley, or Columbus?
That’s a good question. The exploration publishing industry has returned over and over to the same stories. The lives of great explorers continue to sell well, and that is one aspect of the continuing vitality of what I call our culture of exploration. Still, recent developments in the field and in popular science publishing have encouraged authors and readers to shift the focus somewhat, turning the spotlight on lesser known individuals whose experiences have been overshadowed. Consider for example the success of some terrific popular works on the theme of exploration and travel such as Robert Whitaker’s The Mapmaker’s Wife, or Matthew Kneale’s novel English Passengers, which are all about large and complex issues of language, translation, misunderstanding and exchange. That gives you a bit of hope that actually readers are looking for something new, so long as there is a good story there! Of course it is not easy – so much simpler to tread the path of our predecessors. Sometimes it requires an exploring spirit to venture further from the beaten track….
What first drew you to the history of exploration? Is there particular question or theme that guides your research? How have your interests changed over time?
What drew me first to the history of exploration was a growing realization that the subject was more important to my own academic field – geography – than my teachers in the 1970s were prepared to admit. I was interested in the worldly role and impact of geographical knowledge, socially, economically and politically. When I was at school and college, ‘relevance’ was in the air and geographers were turning their attention to questions of policy and politics. My point was that geographical knowledge has been and continued to be hugely significant in the world beyond the academic, from travel writing to military mapping, and exploration provided one way into this. There were other ways into this worldly presence, of course, and the work of my PhD supervisor Derek Gregory has had a lasting influence.
Much of my own writing has focused strongly on the long nineteenth century, partly because this was a period in which I immersed myself for my PhD and first teaching (my first post was a joint appointment in history and geography). However, I was drawn to the work of social historians – at first EP Thompson’s Making of the English Working Class, later work influenced by new models of cultural history. Partly because of my appointment on the borders of two disciplines, I found myself increasingly attracted to fields – such as Victorian studies or the history of science – that were in a sense already interdisciplinary. In both these cases, an interest in space and location has had a strong impact on the best writing in the field. Historians like Jim Secord and Dorinda Outram, as well as geographers such as David N. Livingstone and Charles Withers, taught me a lot about the ways in which ideas about exploration circulate, and why it is important to think of knowledge in practical as well as intellectual terms.
My interest in the visual culture of exploration and travel reflects the strong focus on the visual has shaped the work of geographers in this area, pre-eminently Stephen Daniels and Denis Cosgrove. My interests developed through work with James Ryan, whose book on the photographic collections of the RGS remains a seminal work. Later I worked with Luciana Martins on a project on British images of the tropical world in which we were particularly concerned with the observational skills of ordinary seamen and humble collectors rather than the grand theorists of nature. In retrospect, this project paved the way for some of the themes in the hidden histories of exploration exhibition. But this exhibition also represents a departure for me as the focus is squarely on the work of non-Europeans. There is an interesting discussion to be had here about whether turning figures like Nain Singh or Jacob Wainwright into ‘heroes’, just like Stanley or Livingstone, is the way to go. Perhaps we can’t think of exploration without heroes, and it’s a matter of re-thinking what we mean by heroism. Or perhaps we historians need to do more than ruminate on the vices and virtues of particular explorers, by considering the networks and institutions which made their voyages possible and gave them a wider significance.
In Geography Militant, you warned that scholars were focusing on exploration too much as an “imperial will-to-power”  ignoring the unique and contingent qualities of each expeditionary encounter. You developed this argument further in Tropical Visions in an Age of Empire. Do you think scholars are now moving away from an “empire-is-everywhere” world view? If so, what do you think we are moving towards?
This is not an original view. Many of the best known historians and literary critics writing on empire have made similar points: I am thinking of Peter Hulme, Catherine Hall and Nicholas Thomas. What I take from them is a deep sense of what colonialism and empire meant – not just at the level of trumpets and gunboats, but in the very making of our sense of ourselves and our place in the world, past and present. At the same time, I have wanted to highlight the fractured, diverse nature of the colonial experience and I have never been happy with lumpen versions of ‘colonial discourse’ which used to be advanced within some versions of postcolonial theory. This interest in difference is reflected in my interest in moments of controversy and crisis, points where the uncertainties and tensions come to the surface (as in controversies over the expeditions of Henry Morton Stanley). You can’t work on exploration for long without realizing the strong emotional pull of the subject on explorers and their publics; and the fact quite simply that they were always arguing, either with ‘armchair geographers’ (those much maligned stay-at-homes) or with their peers. If these arguments were frequently staged if not orchestrated by others, that is part of the point: these controversies were more than simply the product of disputatious personalities, they were built in to the fabric of the culture which produced them.
What’s your next project?
In recent years I have worked on a variety of smaller projects on collectors and collecting, involving everything from insects to textiles. What I would like to do next is a book on the visual culture of exploration, drawing on a wide variety of materials from sketch-books to film. Some of these materials are represented in the hidden histories exhibition, notably the sketchbooks of John Linton Palmer and the 1922 Everest film featured on the website. But there is much left to explore!
Thanks for speaking with me.
This week, NewScientist announced the remotest place on earth: 34.7°N 85.7°E, a cold, rocky spot 17,500 ft up the Tibetan Plateau. From 34.7°N 85.7°E it takes three weeks by foot to reach Lhasa or Korla.
Not that anyone has tried. No council of explorers advised NewScientist on its choice of locations. It was determined by using geographical information systems (GIS) which combined number of factors, including:
information on terrain and access to road, rail and river networks. It also consider[ed] how factors like altitude, steepness of terrain and hold-ups like border crossings slow travel.
Nineteenth century maps still occasionally showed regions of Terra Incognita. But twenty-first century maps have no blank spaces left. The NewScientist maps offer, in their measure of “most remote” a modern equivalent.
Finding the remotest place on earth is an interesting project. In tracing this circulation system of human movement, we see how closely it correlates to areas of wealth and industrialization. Still I wonder if human movement – specifically how long it takes to reach a major city – is the best way to measure remoteness. Today cell phones and the internet connect people in some of the world’s loneliest places. There are no roads or trains that reach the pinnacle of Everest. Yet it can be reached by cell phone, observed from base camp by telescope, viewed in three dimensions through satellite images in Google Earth.
By contrast, there are places within the bright regions of the NewScientist map where connectivity fails. A resident of the Ninth Ward of New Orleans or Cairo’s City of the Dead are only minutes away from a web of roads, rivers, and trains. Yet how often do residents use them? In these cases, remoteness is not a matter of distance, but of culture and socio-economics. How do we measure these kinds of blank spaces on the map?
In 1788, twenty years after sailing into the Pacific with Captain Cook, Joseph Banks turned his attention to the next riddle of geographical science: the exploration of Africa. In St. Albans Tavern in London, Banks and the other members of the elite Saturday Club drafted a proposal of action:
Resolved: That as no species of information is more ardently desired, or more generally useful, than that which improves the science of Geography; and as the vast Continent of Africa, notwithstanding the efforts of the Antients, and the wishes of the Moderns, is still in a great measure unexplored, the Members of this Club do form themselves into an Association for Promoting the Discovery of the Inland Parts of that Quarter of the World.
The Saturday Club acted quickly. It endorsed the resolution, established an Association, put together an expeditionary fund, and commissioned John Ledyard (also a veteran of Cook’s voyages) to cross the African continent from east to west. Ledyard arrived in Egypt ready to complete the “efforts of the Ancients” but was struck down by illness in Cairo. He died before his boots got sandy.
Ledyard’s death was a disappointment to the Association, but it couldn’t have come as much of a surprise. Africa had proved itself resistant to European efforts for over three centuries. The first forays into Africa began badly. In 1446 Portuguese mariner Nuno Tristão took twelve men up the Gambia River in pursuit of Africans and riches. Tristão was attacked by Gambian tribesmen and killed along with half of his party.
The Portuguese learned from Tristão’s mistake. When they returned to West Africa, they abandoned their plans to explore and conquer the interior, preferring to set up outposts or “feitorias” on the coast from which they could trade with African kingdoms of the interior.
Other factors inhibited exploration as well. The inhospitable conditions of the Sahara made overland expeditions difficult. The great rivers of Central Africa seemed more promising, but they were filled with cataracts that made it impossible to travel far by boat. Malaria felled Europeans who traveled inland, and sleeping sickness (trypanosomiasis) not only attacked humans but horses. The horse, so effective as a weapon of war for Europeans battling the Incas in the New World, proved useless in European efforts to dominate Central Africa.
Despite Africa’s importance in the Atlantic economy as a source of slaves and gold, then, it remained poorly understood in Europe. As a result, it remained a place of mythical and geographical speculation: on the source of the Nile, the riches of Timbucktoo, the Gold Mines of Ophir, the trans-continental mountains of Kong, and the mysterious Mountains of the Moon.
This explains the power of Africa in the Western imagination even late into the nineteenth century. For writers and artists, Africa became a canvas upon which almost anything could be painted. In Anglo-American literature, Africa found a home in the work of dozens of writers including H. Rider Haggard (King Solomon’s Mines, She), Joseph Conrad (The Heart of Darkness), and Edgar Rice Burroughs (Tarzan). Interestingly, the Africa of these works was background rather than foreground, a region made dark (morally, racially, and geographically) so as to better illuminate its protagonists — Allan Quartermain, Charles Marlow, Lord Greystoke — as they found adventure and enlightenment.
How such ideas were projected upon the surface of maps is the focus of Princeton’s excellent online exhibition, To the Mountains of the Moon: Mapping African Exploration, 1541-1880. Created by curator John Delaney, To the Mountains of the Moon offers a history of Africa as seen through European eyes.
As one might expect, early Renaissance maps of Africa were colorful, fantastical documents. What they lacked in credible information they compensated for with a rich palate of speculation. On Sebastian Münster’s 1554 map of Africa one finds the home of the mythic Christian hero, Prester John, as well as a tribe of one-eyed giants, the dough-faced Monoculi, who sit above the bight of Africa.
Nineteenth century maps added precision and sophistication. Gone are the mythic tribes and gold mines of early maps along with the chatty notes in Africa’s margins about river currents, astronomical observations, Biblical figures, and anything tangentially related to the continent.
Yet the later maps leave out Africans too. If Prester John and African cyclops are not representative of Africa’s peoples, at least they show it to be a place of human action and habitation. While some nineteenth century maps — by John Tallis and Victor Levasseur — present ethnographic scenes in the margins, others — such as William Winwood Reed’s Map of African Literature — shows the continent as a white text, tabula rasa, for the names of European explorers. “LIVINGSTONE” stretches across Central Africa from Mozambique to the mouth of the Congo River. Which of these maps – Munster’s or Reed’s – shows the greater distortion?
Despite the excellent maps and essays, the menus of the exhibition are not very clear. It’s easy to get lost and miss a map or two on the way out. This didn’t stop Stanley. It shouldn’t stop you.
Apologies for the spare postings over the last two weeks. I’ve been doing a lot of out of town projects. Last week I was down in DC where Story House Productions is putting together a documentary on the Cook-Peary North Pole Controversy of 1909. They interviewed me in the historical newspaper room of the Newseum (just off the National Mall). Museums are strange places anyway, but after dark they become positively surreal.
I was also up in Maine working out the kinks of an exhibition I am curating at the Portland Museum of Art called “The Coldest Crucible: Arctic Exploration in American Culture.” The show examines many of the same themes as my book (no surprise). But where my book was limited to 18 black-and-white prints, the exhibition delivers a much broader range of paintings, photos, and illustrations. The point is to show how the Arctic of these images represents a hybrid-world: a vision of polar regions, colored by the aesthetics and preoccupations of the Americans who traveled there.
You can see some of the images of the show here.
I gave an interview about the exhibition on Channel 6 while I was there.
The show opens this Saturday and runs through 21 June.