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Biography

Dr Tina Richardson is a social scientist and has been teaching across humanities-based subjects since 2009. Her interdisciplinary background enables her to teach across a number of subject areas, such as English, History, Psychology, Philosophy, Media & Communications, Art History and Sociology.

Well-published, Tina has a list that includes a book, book chapters, journal articles, and arts magazines (click here for an up-to-date list of publications). She has also appeared in the media discussing popular music. Please enquire for a full CV, including qualifications.

Tina received her PhD in 2014, and is best known for author-editing the first textbook on psychogeography: Walking Inside Out: Contemporary British Psychogeography (Rowman and Littlefield, 2015).

DBS: Tina has a current DBS certificate (please ask if you would like to see a copy).

Contact Details

Phone and Email: please see above image

Price

For school pupils: £30 for 50 mins (online or at her home in Hunstanton). Tina is also available to teach at your home, depending on location.

Tina’s Approach to Tutoring

Tutoring can take the form of any of the following: knowledge imparting, exercise setting, working through essays, discussion on specific topics, and so on. Tina is an enthusiastic and flexible person, who believes learning should be fun as well as life-changing. Good at explaining complex concepts, she uses everyday examples to help pupils understand the intricacies of their subject. She encourages a relaxed atmosphere, which enables individuals to articulate any difficulties they might have in their studies.

Tina is also available to help prepare students for university life, such as with university applications. Please note, she also undertakes tutoring for university students, but this is at a higher rate (please enquire).

Meet Your Tutor

Tina appreciates, especially in these times, that it is important both pupil and parent/guardian meet their tutor before committing to tutoring. If you would like to do this, it can be carried out through a virtual meeting, or in-person at her home, and is free of charge.

Walking Inside Out - Introduction

Introduction:A Wander through the Scene of British Urban Walking

by Tina Richardson

WHAT IS PSYCHOGEOGRAPHY?

Get a map of your local area and spread it out on the floor. Study the map, imagine the terrain, find your preferred route – perhaps a bridleway or a towpath – and trace it on the map. Grab your coat off the hook in the hallway and put on your sturdy shoes. Leave the house and dump the map in the wheelie bin. Forget the map. Go to the nearest bus stop and get on the first bus that comes along. Get off when you feel you are far enough away from home that the area is unfamiliar. Begin your walk here.

Psychogeography does not have to be complicated. Anyone can do it. You do not need a map, Gor-Tex, a rucksack or a companion. All you need is a curious nature and a comfortable pair of shoes. There are no rules to doing psychogeography - this is its beauty. However, it is this that makes it hard to pin down in any formalised way. It is also this ‘unruly’ character (disruptive, unsystematic, random) that makes for much discussion about its meaning and purpose - today more than at any other time.

This volume does not pretend to have a definitive answer to what psychogeography is, but it does propose to open up the space that can be defined as psychogeography, providing examples and encouraging debate. In his introduction to Psychogeography (2006) Merlin Coverley asks: “Are we talking about a predominantly literary movement or a political strategy, a series of new age ideas or a set of avant-garde practices?” and goes on to say that it is all the above (2006, 9-10). In just a couple of sentences we have opened up a can of nebulous worms on the ambulatory behemoth that psychogeography (or urban walking) is. What this selected volume of essays does is present the state of play as it is for psychogeography in the UK in the 21st century...

Click here to download a pdf of the introduction.

The Routledge Handbook of Pink Floyd

Hello Folks,

I have contributed a chapter in this new book on Pink Floyd. I have included a book overview below, beneath that are a few paragraphs introducing my own chapter. You can find full details of the book here.

Thanks, Tina

The Routledge Handbook of Pink Floyd, edited by Chris Hart and Simon Morrison, is intended for scholars and researchers of popular music, as well as music industry professionals and fans of the band. It brings together international researchers to assess, evaluate and reformulate approaches to the critical study and interpretation of one of the world’s most important and successful bands. For the first time, this Handbook will ‘tear down the wall,’ examining the band’s collective artistic creations and the influence of social, technological, commercial and political environments over several decades on their work. Divided into five parts, the book provides a thoroughly contextualised overview of the musical works of Pink Floyd, including coverage of performance and sound; media, reception and fandom; genre; periods of Pink Floyd’s work; and aesthetics and subjectivity. Drawing on art, design, performance, culture and counterculture, emergent theoretical resources and analytical frames are evaluated and discussed from across the social sciences, humanities and creative arts. The Handbook is intended for scholars and researchers of popular music, as well as music industry professionals. It will appeal across a range of related subjects from music production to cultural studies and media/communication studies.

Chapter 20: Hey You! Subjectivity and the Ideological Repressive State Apparatuses in Pink Floyd’s The Wall by Tina Richardson

Pink Floyd’s long musical history (spanning two decades at its peak) had always reflected the cultural zeitgeist, even at a time when it was at odds with other musical movements of the day, as was the case in the late 1970s with the advent of punk rock. While it is often reported that punk heralded the demise of progressive (or psychedelic) rock – “Never trust a fuckin’ hippie” Johnny Rotten if often wrongly claimed to have said – Pink Floyd’s single from The Wall, ‘Another Brick in the Wall’, was no.1 for five weeks in 1979 (UK music charts). Alan Parker’s film Pink Floyd – The Wall (1982) followed, and Pink Floyd entered film history.

Parker’s film, which responded directly to Roger Water’s lyrics, presents us with the protagonist Pink, a rock star who is at odds with his position as a revered musician: he is both a victim of the system of music production and a fascist proponent of it. Early in the film, we see him in his hotel room, barely conscious, waiting for the gig to start. Pink (played by Bob Geldof) looks both physically ill and mentally exhausted (and psychologically removed from the hotel room he occupies). His agent, and the doctor employed by him, inject him back to consciousness – ‘Just a little pinprick’ – so that he can perform for the audience. Within a short space of time, Pink is on stage in a Nazi-style rally as he sings the lyrics to ‘In the Flesh’, asking the audience “So ya… Thought ya… Might like to… Go to the show.” It is this relationship with the audience – one in which he hides from them, but also presents himself to them as if he was their leader – that creates cognitive dissonance in him.

In his book Which One’s Pink? Phil Rose (2002) acknowledges the cultural moment, as it was for rock audiences in the 1970s. He describes an early scene where we see Pink’s reaction to his fans, “As the emergency doors break open at the concert venue, crowds of frantic people are seen running down an empty corridor. In his imagination Pink superimposes on this scene the trampling feet and screaming faces of battle”. It seems, for Pink, that if he must deal with his fans, it will be from the position of someone who is at war. A war that appears externalised for Pink, is really internal and existential.

We see many images of Pink sitting in a chair, alone in his hotel room, holding a cigarette which is turning to ash. This dialectic – the ‘marauding hordes’ (of music fandom, of battle, of collective violence) versus the ‘estranged loner’ – sets up the story of Pink’s life (and along with that a multiplicity of contradictions) as it unfolds in the narrative presented to us through the album and film. At the same time, it creates for the cultural theorist another position open to interpretation, that of the structures of socio-political, cultural space and power, as they pertain to their influence on the individual (in Pink’s case, as they are imposed upon the individual). Nevertheless, we need to be careful not to set up these oppositions in too binary a way, since by using phrases like ‘social structure versus the individual’, we imply that these phenomena sit in clearly delineated camps. The very structures of society that are so prominent in The Wall – the army, the family, education, the media, the judiciary - are what creates the subject in the first place. The subject, which for Louis Althusser, is never an individual: the subject is always the subject of the ideology of societal structures.

This chapter examines the narrative of Pink’s existential anguish as it pertains to the ideological and repressive structures that surround him. By using Althusser’s theory, as defined in ‘Ideology and the Ideological State Apparatuses’, I will discuss how these structures have the simultaneous effect of forming Pink as a subject, yet overwhelming him to the extent that his psyche is fractured and all that is left for him to do is to create a wall to protect himself from the outside world. It is the closing scene ‘The Trial’ that will be analysed to explore the compromise the subject has to make regarding their own position within these structures of power. Following this, the chapter also examines Pink’s existential crisis in the context of the symbolism of the wall. But, firstly, we need to examine Althusser’s concept of the ‘subject’ in some more depth...

From Ivory Towers to Passionflowers: Tina Richardson Interviews Fenella Brandenburg

 

My interview with Fenella Brandenburg coincides with her move from academia into the world of a full-time writer-author. Here we talk conference storm-outs, academic superegos, psychogeography and passion projects. I hope you enjoy our dialogue: as C. S. Lewis said ‘Fenella is on the move’!

I find Dr. Brandenburg sitting - not coincidentally, I’m sure – in the Islington café she insisted we meet in, called ‘Tina, We Salute You’ (her little psychogeographic joke). When she told me we were meeting here, I honestly thought she was making up the name. I’ve included the photo above to prove its existence.

Dr. Brandenburg, who was promoted to Reader just before her retirement from academia (it turns out this was her way of saying ‘f**k you’ to Higher Education), looks very unlike the person I saw last at the 2017 4WCOP Psychogeography Conference. It transpires she was wearing a white bobbed wig and was dressing like a ‘bag lady’ in order to maintain her disguise. It seems there is now no reason to keep up the pretence. I note that she actually has somewhat Titian hair (not unlike my own) and is a zappy dresser: not a fleece or ankle sock in sight!

Brandenburg, who recently moved from somewhere in the North of England (she seems reluctant to say where, for some unknown reason – although the academic rumour mill says it is related to reports of stalking made by another academic) to Islington to, as she says “Be with my peoples”. The pressing questions are ‘why her move from academia?’ and ‘what was the fallout of 4WCOP?’. Here is the transcript of our interview in full and unedited:

TINA: Thank you for meeting me, Fenella. I love the choice of venue. How have things been since you left academia a month ago and how did the university feel about being snubbed when you resigned the day of receiving your readership?

FENELLA: Well, it had been a long time coming, the Readership, and I had been overlooked on a number of occasions. I actually only hung on in HE for that long so that I could resign when I finally received it. You know the adage ‘Revenge is a dish best served cold’, well the ‘cold’ was about 5 years of torture, but was well worth it. The adage turns out to be true, but for all the reasons that are the opposite of what is implied by the adage, if one wants to get semantic about it. That, and also I heard rumours that that Bollinger bloke was moving to my university, and I just wasn’t up to having to deal with his ‘advances’ any more.

T: I’d like to talk about David Bollinger later, if that’s alright with you, but for the moment, what have you been doing, since you left?

F: Well, I very speedily set up a local writing group. I plan to take the same approach that the postmodern university does to how it ‘tasks’ its own academics. This is oriented around what HE calls the Work Load Model (WLM), however I will be calling my model of work allocation applied to the members of my fiction writing group the WLF, The Work Load Fiction. I think this will work out well for all concerned and it allows me to take a firm hold on what is happening and provide a hypodermic approach to the management of the group (for those of you not familiar with the term it comes from communications theory, it means top down and coming from above). People love being micromanaged, despite their protestations to the contrary.

T: So what do you see as being wrong with academic workload being managed by those who are clearly qualified enough to be managers?

F: The WLM epitomises the postmodern university par excellence. It is the moment where the university’s bureaucratic superego reaches its full potential in the daily control of its academics. For Freud, the superego represents all authority figures (initially the Father), but eventually the part of the individual that negotiates with the id (the basic instincts), producing the ego, the aspect of the individual that is presented to the world. On the level of power, say a Foucauldian model of power, if you will, this is tantamount to a kind of self-surveillance. I am absolutely behind the WLM and have no problem in bringing it into the creative sphere, in this case fiction writing. Creative people can get completely out of control, there is no absolute structure for them to adhere to, and they must be constrained at all costs.

T: Thank you, Fenella. I’m not sure everyone would agree with you there, but I appreciate your candour. Can I ask you: Why the move to creative writing?

F: Well, I’d met my 5 year plan: to leave at the point of my Readership. Let me just say, plans are incredibly important: 1, 2, 3, 4, 5 year plans are not fiction at all, whatever academics say. They help keep you on track and ensure you meet targets, which are not at all unreasonable despite what you may read in regard to those adversaries of HE research-related policy. In regard to my move: I’m a well-published academic (as you know, your own publishing company has published some of my work on 'presupposed actualization'). I’m already an author. Really, how hard can it be?

T: Can we talk about psychogeography? What are you currently working on in that field and do you still consider yourself a psychogeographer?

F: Well, I am currently working on a project on abandoned shopping centres in the US. Partially inspired by your research on the Trafford Centre. I am also looking at a rural space, the Black Forest national park in Baden-Wűrrttemberg. As you know, I was born near there and I inherited my family cabin in the area. I am however, somewhat offended by your second question: that I may no longer consider myself a psychogeographer. I appreciate the damage done by the paper Bollinger and I delivered at 4WCOP 2017, but I feel we more than made up for that in our paper based on Ballard’s Concrete Island in 2019.

T: Talking about David Bollinger: can I ask you some questions about some of the gossip about where you and he were located. During 2016-2020 rumours abounded about where you were both working. I heard that Bollinger had an office in the Psychology Department at Huddersfield at one time. But managers in that school denied that he even existed, despite him clearly having a desk and a label on the door. One of the academics - a friend of mine, Dr. Alex Bridger - said he knew Bollinger was there as he saw his coat over the back of the chair. That, and he actually shared an office with him. I also heard that you had a temporary office in the old Maltings building, that once was the Geography Department at the University of Leeds, but has now been demolished. You also, purportedly, had an office in the School of Design at one point. But then, I also heard that you were popping up in online Zoom meetings at MMU in the early days of Covid.

F: I cannot vouch for Bollinger. You could ask Charlotte Tilbury, his wife. She’s a counsellor and also writes for The Guardian, I believe (good luck with her psychoanalysing that miscreant, is all I can say!). However, I can confirm that I did work at Leeds during the period you mention, and I will supply proof of that, which you can include on your blog. [included above]

T: Thank you for your clarification of the rumours, Fenella. Can I just ask one more question before we end the interview, for our psychogeographic audience? Where do you see psychogeography going?

F: Well, as you know, you very arrogantly labelled the current phase of psychogeography as ‘The New Psychogeography’ in your own book Walking Inside Out: Contemporary British Psychogeography. I have to say, however reluctantly, that I am more on the same page as Bollinger with this: psychogeography is reaching its zenith inasmuch as it is now all about its own undoing and negation. This is best summed up by an urban-walking colleague of mine, who will remain nameless, who said, when I asked him the question ‘Why did the psychogeographer cross the road?: ‘I’ve no idea why the psychogeographer crossed the road, but I bet when they got there they found Iain Sinclair had already written about it’!

T: Thank you so much for your time, Fenella.

Psychogeography News - September 2021

 

Hello All. I hope you had a good summer. Here’s September’s contribution to psychogeography related news. I apologies for it being a bit thin on the ground this month (for want of a better psychogeography pun). Thanks, Tina

Psychogeography and Walking

The RIBA Journal recently had an article about psychogeography feature in it: ‘Psychogeography allows us to explore the sensory city’ by Tszwai So. If you haven’t come across it before, the Walk Listen Create website advertises lots of events around the world. Also, see Andy Howlett's Paradise Lost event on 26th September: cinema screening and Q&A.

Cartography

There’s a lovely map from Stockport’s Gigantic Leap Frog Art Trail - available here - which took place in July. The International Conference of Cartography and Map Design is taking place on September 27 and 28 in Turkey: you can find out all about it here.

Architecture

This article in The Guardian looks at, would you believe, mafia architecture (who knew that was a thing). And, finally, this interesting and lengthy Archinect article (including some good images form the book), looks at Reyner Banham’s book Los Angeles: The Architecture of Four Ecologies.

Discovering Lockdown Modernism in the North

Leeds Merrion Centre Mural by Eric Taylor

Guest post by Lisa Brown

Here Lisa talks about her interest in modernist art and architecture and the discoveries her and a friend made during the last year. You can get a copy of Lisa's book here: Post War Public Art.

I have always loved to take photographs and it’s something that I would normally do when travelling so I had grand plans of the things I might see on the trip to Japan that I had arranged for April 2020. So when lockdown began and the world shrunk, I started exploring my local area on foot as I found it was the only time I had the opportunity for any real peace and to escape household jobs that were otherwise difficult to ignore.

A friend in Manchester suggested we started photographing the empty streets of our respective localities and sharing them on Instagram. But after this mini project came to an end, I found that I missed the distraction that it had provided so I continued my local explorations, and being interested in mid-century architecture I began to walk further in order to seek it out.

Over time I realised I had built up quite a collection of photographs, not just of the buildings themselves but of the public art that often accompanies architecture from this period.

I like how accessible public art is and its egalitarian properties. Art works in a gallery are by their nature, even in normal times, restricted. The viewer has to make a conscious effort to see the art. And even the most dedicated art lover has been denied access to galleries for much of the last 18 months.

The post war period witnessed an abundance of public art; perhaps it was the influence of the Festival of Britain or just a more general appetite from the architectural community for the commissioning of public works to compliment the built environment.

Rombold the Giant, Keighley by John Bridgeman

Probably my first encounter with a piece of public art was the sculpture of Rombold the Giant in Keighley. He has stood proud in the town centre since 1968 and I have fond memories of him from shopping with my mum as a small child; always fascinated by the story of the giant and his boulder tossing antics.

The easing of lockdown meant I was able to travel further afield and add extra pieces to my impromptu collection. So, the Apollo Pavilion in Peterlee and The Three Tuns mural from Coventry joined pieces from Yorkshire.

Apollo Pavillion at Peterlee by Victor Pasmore

Three Tuns Mural, Coventry by William Mitchell

After many months of pottering and helping put together a photographic collection with Bill Ayres and Simon James Hadfield, I had the idea of collating my images in a similar way.

So, thanks to The Modernist Society, Rombold is accompanied on a perambulation by 18 other works; ordered from nearest to farthest from my home in North Leeds, in a little photo-book.

How to (de)Construct a Place Setting in Three Easy Steps

1 - Define a place setting.

What is a ‘place setting’: the setting of a place, to set a place? The opposite of ‘to set’: un-set…unsettle. A place for whom/what? A set placing. A place for a subject. A setting of a scene. To set the scene for the subject of the place.

1 place /plays/ n 1a physical environment; a space 1b physical surroundings; atmosphere 2a an indefinite region or expanse; an area…4 a particular part of a surface or body; a spot…5b an important or valued position…7a a proper or designated niche…8a an available seat…8c PLACE SETTING

2 place vt 1 to distribute in an orderly manner; arrange 2a to put in, direct to, or assign to a particular place…2c to put in a particular state 3 to appoint to a position…5a to assign to a position in a series or category; rank 7 to put, lay…

3 setting /’seting/ n 1 the manner, position, or direction in which something (e.g. a dial) is set 3a the background, surroundings…5 PLACE SETTING

2 - Ascertain the limits of the place setting.

“How is it possible to determine, in such a situation, what truly belongs to the inside and what does not?" (Derrida 1987: 138).
The place setting exists as a singularity in space and time: on the spatial plane it exists on a surface without clearly delineated edges, and temporally it is unclear at which point the place setting becomes itself, or when it is no longer that of which it is known in regards to assembly/disassembly.

Somebody puts together the place setting. It could be the diner, it could be the cook, it could be the silver service waitress/waiter . . . it could be you. A number of possible people construct it. The placemat, cutlery, glasses, plates are laid out by following certain cultural conventions. The dining paraphernalia is placed on a surface, a table. Some of the items may rest on the placemat, if there is one, and some will not, for instance the glasses do not, although they too can sometimes sit on their own object, a coaster.

Where is the edge of the place setting? If you were to draw around the limits of the place setting you would quite probably draw around almost every single separate item that makes it up.

The margins are unclear. It appears that the outside of the place setting is also contained within the inside of it, in the fluid space between the items. The outside pours into the inside. What belongs to the place setting and what does not? Does the tablecloth belong to the place setting: the tablecloth could be removed and the place setting could still be considered to exist. What of the table? What could be utilised in the place of a table that would still enable a place setting to be called such: a kitchen counter, a TV dinner tray, a wooden packing crate. How many individual items that make up the place setting need to be removed for it to not be a place setting? Everything but a knife and fork . . . maybe . . .

How significant is the setting of the place setting: could one assemble a place setting on the pavement of a busy street, or in an art gallery? The context of the place setting might mean that a diner could not be present at the scene of the place setting. If it were physically impossible (or dangerous) for a diner to be in attendance, is it still a place setting: could a place setting be set on an airport runway and it still considered to be a place setting. It would certainly be recognisable as one, but how much does the context effect the place setting, inasmuch as it is part of the dining event. On a spectrum of contexts it is difficult to ascertain an absolutely clear point at which a place setting would not be considered to be such.

The place setting, in terms of its existence, comes into and goes out of being surreptitiously. At some point in its manifestation it becomes what is recognised as a ‘place setting’, but its materialisation is gradual and rather furtive. It is carefully assembled piece by piece, comes to rest for a period of time, then is gradually dismantled by the diner and/or an-other: disarranging the original construction. If the place setting was only considered to be a place setting at its most complete (prior to the diner’s arrival, prior to their unpicking of it), its disassembly could be seen as a destructive act. The diner destroys the place setting, like one might destroy a work of art. This could be considered an act of violence.

Considering the place setting to be a ‘place setting’ only when it is whole and complete, allows for it to be described as such even in the absence of a diner. If the place setting is set, but the diner never arrives, the place setting is still a place setting, even if its origins are not so sure. However, at some point, the items making up the place setting will all be removed.

If the place setting is seen as something more nebulous, uncertain in terms of when it begins and ends in time, the diner’s re-arranging of the items that form it, and the removal of those items during the dining process, could also be included in what is recognised as the place setting. But, we still have the issue of a beginning and end, though. Does the place setting begin when the placemat is laid or, maybe, when the first piece of cutlery is set down. Does it end when the final item is removed?

The place setting is a fragile thing.


3 - Ensure the place setting is ready for the diner's arrival.

The place setting awaits a subject. The place setting is calling a subject. The diner is hailed by the place setting, “interpellated” in the Althusserian sense, whether the place setting has their name on it or not, as it might at a formal dinner when written on a card. The place setting has a subject in mind, whether it is a named subject or a generalised other. The type of dinner will dictate, to a large degree, certain characteristics in the diner: it may dictate their class, wealth or social status; their associations with other diners (relative, friend, business associate); their membership of a certain group. All these qualities define the event, the place setting, and the subject. Therefore the place setting holds certain notions about the subject before they arrive at the dining table.

At a formal dinner the place setting exists for the sole purpose of a subject to be sat at it, and for that subject to utilise it within a given framework. It is an object requiring a subject to fulfil its purpose. The place setting anticipates an always already subject. In this sense the subject comes before the place setting, they exist before the place is set, as a knowable, expected attendee of the dinner. But, does the subject exist as a diner before the place setting is set? If the place setting is a one-time-only event, it is possible the subject only exists as a diner at the point they sit down at the table. If this is the case, then the place setting comes before the dining subject.

It appears that the tendrils of the place setting spread temporally in both directions. It forms a nexus which connect a past and future subject in the singularity of an event. This event, operating around the hub of the place setting, is also contingent in the changing of the subject. The subject will have been altered by the event and will not be the same subject that sat at the place setting at the beginning of dinner. Conversations might have taken place, dialogue exchanged, the subject’s psyche could be transformed, however minutely.

The place setting, as an assembly, is also part of the greater assembly which is the dining event. This could be considered to be like the Deleuzo-Guattarian “assemblage” which comes together and then disassembles. If it were considered in these terms, we could not separate the subject from the event, the subject does not attend the event they are part of the event. The place setting and the diner would be intrinsically linked, because they make up the processual dining experience.

The place setting retains the history of the event. Before the final items are removed, what remains of the place setting contains a trace of the event that has just taken place. The place setting is a recording device for the event as it is for the particular individual subject as diner. How the place setting is left at the point the diner leaves the table is an audit trail for the actions of the subject during their dinner party. If the recording could be played back the subject’s steps could be retraced. The used place setting, at the moment the diner leaves and prior to the point it is finally removed by the attending staff, alludes to an absence. The dining subject leaves their signature (their autobiography), in the rumpled silk placemat, in the not-quite-finished glass of vintage port, in the highly-polished unused silver dessert spoon. Disorder replaces order. But this disorder is telling. It speaks of a past, of an attendance.

Each individual diner will leave their history behind on the table: an archive of the event left behind in their wake. The dining subject has left their mark. Their absence leaves a sign of a past presence. ‘Elvis has left the building’ but he still exists in the discarded crumpled gig programme and trampled cigarette butts of the deserted dance hall.

The Dinner Party by Judy Chicago 1974-79, the Brooklyn Museum

References:
Derrida, Jacques. 1987. The Truth in Painting. Trans. by Geoff Bennington and Ian McLeod (Chicago and London: The University of Chicago Press).