Treasure

CHOSEN

Broken Animal Parade

SELECTED ARTEFACTS

On the high windowsill in the wood panelled hallway of my Nana’s 1930’s semi, resided her collection of Beswick and Sylvac animal figurines. They were arranged like a procession, alluding to her taste, her history and a time gone by, a deliberate collection and a form of expression, capable of revealing an authentic voice as the work of Miller (2008) suggests. Nearly all of them were broken, many on numerous occasions, victims of her haphazard dusting, she would frequently knock them off. She kept a ceramic lidded pot, specifically for the purpose of collecting the lost limbs, ready for my Mum to glue them back together, which she did in batches once the pot was full. My Nana would bring the maimed ornaments round to our house, wrapped individually in newspaper, along with the pot of ceramic body parts and my mum would diligently re-attach them with Araldite glue the scent of which would linger in the house for days. As a child I detested that smell, but as an adult the smell of epoxy resin is cause for instant reminiscing of the two of them sat around the kitchen table, my mum mixing the two solutions together with a cocktail stick whilst she subtly scolded my Nana for her carelessness. At which my Nana would ‘blow’ (our way of describing our Nana’s manner of sighing, which really was more of a blow than a sigh) in protest.

CHOSEN

Nana’s Cats

SELECTED ARTEFACTS

The object of my Nana’s that I coveted above all else was her ceramic cat and kittens. My Nana loved those cats and they lived in a special place on the mantelpiece in her living room about the open fire that I spent so much of my time in front of during my childhood, perched on her leatherette pouffe, stoking the coals. When my Nana passed away my Mum took charge of the cats, moving them to her own living room mantlepiece. My sister and I knew that would be the case as we each loved them in equal measure. Over the years my sister and I had many discussions regarding who out of the two of us would eventually inherit the cats, offering each other numerous trade-offs and incentives to ensure future ownership. It was often done in jest but underneath we were both resolute on the matter. The work of Cialdini (2007) raises the phenomenon of scarcity, whereby we value things more because they are less available to us. There was only a fifty percent chance of me owning the cats which decreased to zero when I became estranged from my parents for reasons that are too personal and lengthy to discuss here.

Nana’s Cats

SELECTED ARTEFACTS

It was I whom eventually acquired the cats, during a brief reprieve from the turmoil which has kept my family apart for so many years. They were given to me by my Dad. And here is where I face a dilemma as the writer of this account. How descriptive should I be about that event? As Ellis explains (see Wall 2008), in autoethnography the writer tells a story that allows the reader to feel part of it by revealing intimate detail and emotion about the human experience. Which can result, according to Wall (2008), in anxiety centred around the ethical dilemmas on representation of other individuals involved in the narrative.

The solution to this issue has been the subject of much contemplation. I have questioned my own intent as honestly as I am able, allowing for the possibility that thoughts and feelings can change over time. Analysing the relevance of this event to the nature of my subject matter, asking: Will a vivid description of that time, add another dimension to my research? Could it open the door to further discourse? Am I letting my personal feelings on the subject influence my decision making?

I think perhaps this is the downside of autoethnography, it is not always easy to make objective decisions on topics that affect us emotionally. Indeed the issue of objectivity appears to be a matter of debate in autoethnography with many conflicting opinions on the subject. Denzin (see Reed-Danahay, D., 2021) raises the importance of not adopting

the stance of ‘an objective outsider’, whilst Denscombe (2002) declares objectivity to be impossible. In contrast Chang (2016), advocates the need for objectivity. I tend to agree with Denscombe, it seems contradictory to be objectivate when writing about personal experience, an inherently subjective practice, or as Ellis (2000, p. 39) describes it, an autobiographical style of writing that displays multiple layers of consciousness connecting the personal to the cultural.

On the subject of representation, I concur with Turner (2013) that it is important to be mindful of the impact our words can have on others. When writing about those involved in our story, I do believe we need to do it respectfully and give serious consideration to the ramifications of divulging what is after all in this case, my personal interpretation of an emotive issue. Hokkanen (2017, p. 3) raises this point, warning of the potential for experiences involving our emotions which are often taken as highly personal, intrapsychic phenomena, to cast doubt on the sociological contribution to a discussion.

In terms of my account of how my Nana’s cats came to be in my possession, on reflection, disclosure of that story has the potential to cause further acrimony within my family, so I feel it is enough to say they did not come to me under the best of circumstances. As Turner (2013) states within autoethnography ultimately it is the choice of the author what to tell and what not to tell.

Nana’s Cats

SELECTED ARTEFACTS

And in this case, as the manner of their acquisition has had no impact on my feelings towards my Nana’s cats. It is their ownership that remains important to me not how that came to be. Although I understand that my admitted, omission of information could cast doubt on the validity of my account and lead the reader to question the results of my analysis. Which raises another potential issue with autoethnography, the writer is asking the reader to have faith in their ability to convey and review their own personal account and the accuracy of that undertaking could prove difficult to ascertain. As summarised by Allen-Collinson, J. and Hockey, J., (2008), the credibility of the genre as scholarly work has often been subject to severe contestation by reviewers and editors. Throne (2019) however, describes autoethnography as a sound, coherent and systematic approach, using personal experience to generate rich data, as worthy as any other research. A view corresponding with that of Muncey (2005, p.84)) who stated, autoethnography is as personally and socially constructed as any form of research, but at least the author can say ‘l’ with authority and can respond immediately to any question that may arise from the story.

FOUND

Bus Ticket

SELECTED ARTEFACTS

The one item of my Nana’s that did not require any compromise was her shopping trolley. Neither my Mum nor sister were the least bit interested in acquiring, the tartan plastic trolley that accompanied her everywhere. I on the other hand thought it might come in very useful, which indeed it did. I had not learnt to drive at that time and was forever struggling with shopping bags. After several years of my continued use I thought it was time to have a clear-out of the receipts and rubbish that had been accumulating at the bottom of the trolley. I always check receipts before I dispose of them, just in case and on doing so, I found one that stopped me in my tracks. Amongst my rubbish was a bus ticket that I knew was from a journey taken by my Nana a year before she passed away. I have never felt such an intense emotional reaction to a simple piece of paper. That bus ticket has become as precious to me as any of my treasures from her, a fact I know she herself would find ridiculous. But the ticket printed with the details of her journey, placed her in an exact space in time and there is something about that I find immeasurably comforting. The details in conjunction with what I know of her routine paint a vivid picture of a moment of her life that I was not there to witness for myself. As Marius Kwint et al. (1999) suggest, objects form records, analogues to living memory, they become history like the fragments that speak to the palaeontologist or geologist.

FOUND

Bus Ticket

SELECTED ARTEFACTS

At 10.50 am on the 29th August 2008 my Nana was travelling on The Spondon Flyer, on her way home from doing a big shop at Somerfield and Birds in the village in which I grew up, having calculated that the date fell on a Friday. As a creature of habit, I can take an educated guess at the contents of her shopping trolley a litre tub of Walls Soft Scoop icecream, tins of Del Monte peach slices, multipacks of Twix, Kit-Kats and Walkers crisps, a bag of chocolate limes and a nice selection of sweet and savoury goods from Birds. I know where she alighted the bus and her exact route home, I know she would have felt hot and bothered by the heat of that day (another fact I was able to establish) and would more than likely have been wearing one of her summer headscarves, her light mac, a white twinset, a cotton floral skirt and a string of co-ordinating popper beads. It is a journey she would have taken a thousand times, but two years after her passing, finding that bus ticket allowed me to experience that moment with her, if only in my imagination. It felt like a gift.

FOUND

FOUND

Discovery

RE-EVALUATING THE PAST

During the last decade of her life my Nana would have frequent clear outs, trying to remove the obligation of us having to deal with her things after she had gone, a subject we absolutely would not hear of. ‘It’s all got to go’ she would say motioning to the displays of knick-knacks around the house. I took that to mean that she was not attached to any of her things, a believe I have long since held, but recently I found something that that made me question my interpretation of her words. Inside her pot of animal limbs was a little note she had handwritten with the words,’ Jill bought me this’, (Jill is my Mum). I had forgotten about this practice of hers. She cared enough about her possessions to keep records of her receipt of them, she cared enough to have them continually mended. None of her ceramic animals were ever thrown away, even when their broken limbs could no longer be fixed. Her three-legged Zebra and two-legged Giraffe remained on the windowsill. I have them to this day. Despite her proclamations the only thing she threw away was the clutter in her cupboards and drawers. She could no more part with her possessions than I could, not the ones that mattered.

Discovery

RE-EVALUATING THE PAST

This discovery raises another issue with the validity of autoethnography, namely the fallibility and deeply subjective nature of memory, (Freeman 2015). Until my discovery and subsequent revaluation of the evidence available I had made assumptions, however it could be argued that my new perspective is itself based on assumptions albeit educated ones, that stem from my own unconscious bias (Poerwandari 2021). To counteract the potential for this phenomenon, I have taken a very analytical approach to my writing within this piece. Constantly reflecting on the thoughts flowing onto the page, questioning their relevance, meaning and accuracy. As Lake (2015), states, the relationship between reflective practice and autoethnography is an important one, the former giving credence to a form of research sometimes judged as lacking in academic rigour. Perhaps personal recognition of our own subjective limitations and self-awareness of our thought processes can help provide that rigour.

Analysis

A CRITICAL REFLECTION

Fundamentally it is the stories associated with each of my artifacts that generate their value to me. Whilst these stories all relate to my Nana, my affection for her and my need to possess physical remnants of her life in the absence of her being, to answer the questions broached by this study, analysis of each story needs to consider the nature of the memory it represents and the manner in which a memory is trigged (Petrelli et al. 2008). As previously mentioned, the broken ornaments were placed on the windowsill in my Nana’s home, where they remained in their procession until I removed them after her passing. The image of them in situ is one that is permanently ingrained in my memory, they paint a picture of her home, their proximity to the kitchen eliciting the memory of the aroma of buns baking in the oven, the image of her in the kitchen preparing dinner, the sound of Children’s BBC emanating from the television. The location of our evening meal, a sign of the season in which the memory was placed, front room for summer, back room for winter. The setting providing a sense of warmth, safety, love and contentment, conjuring the image of the woman whom I loved so dearly.

Analysis

A CRITICAL REFLECTION

Her broken ornaments now take pride of place in my living room a tangible connection to those memories, each broken leg an indicator of my Nana’s touch, proof of her existence in this world. Those much-coveted cats reside alongside them, the recollection of my longing for them greater than the memory of them within her home, perhaps because of their lack of interaction with her. Perhaps the breakages reinforce the place of the ornaments within my remembrance, Hintzman (1976) describes repetition as one of the most powerful variables affecting memory. Or it could just be a matter of placement, the cats lived on the mantlepiece of her living room, in which I spent most of my time staring at the television or the coal fire, as much as I loved them, at the time the cats just blended into the background. The bus ticket generates a different type of story, one made from fragments of memory of my Nana’s routine, redefining the mundane as something to be treasured. It is also a reminder of her fierce independence and need to remain busy and useful, which she achieved right until the moment of her passing. In her early nineties she had only just started to walk with a stick and relied on the bus service for transportation. Prior to that, well into her eighties she cycled and walked everywhere. The bus ticket symbolises her sense of purpose, evoking recollections of her daily life, one that revolved around shopping, making plans for meals, housework and most of all, taking care of us her family.

Conclusion

THE VALUE OF VALUE

This study demonstrates the complexity of emotional attachment, highlighting the multitude of factors and events necessary to plant the seeds of value, onto an object. The story of each of my artefacts is a deeply personal one, the meaning I attribute to them is pertinent to me and me alone. I am aware that an alternative selection of objects may have generated a different account of meaning. However, I think there are threads of similarity, that could be used to implement the framework for further investigation into the influences, behind the development of value and our subsequent connection to things that could proof beneficial. Nostalgia, history, security, love and loss and the need to preserve our personal experiences and relationship with others can become embedded in the things we possess. For that to happen we need to keep and use the things we have. Connection cannot be encouraged without the continued interaction needed to generate the memories needed to foster our attachment. The human desire to possess could be utilised to enlighten consumers, reminding them of the power our objects can hold. We all have our own personal treasures, each with their unique, esoteric stories that reflect the fabric of our lives. Perhaps those stories could be unlocked to extoll the virtue of real value, a reminder that if something is not worth keeping it probably was not worth having in the first place.

Grounded Theory

Cross-disciplinary, grounded theory research unearthed the following key extracts. These findings were used to develop understanding of the nature of value from a theoretical perspective, to further my own academic development and underpin the concepts at the heart of my research. Providing a rich source of qualitive data on which to ground the insight gained from my autoethnographic study.

Emotional Durability

We have inadvertently designed away the more poetic and enduring characteristics of material culture. In so doing, we formulated a transient and unstable platform of goods upon which the hopes and dreams of users must precariously balance. Consumers are unable to develop and sustain attachments with objects lacking such characteristics as the objects do not possess the diversity and pluralism of character required to healthily sustain enquiry.

CHAPMAN, JONATHAN: EMOTIONALLY DURABLE DESIGN: OBJECTS, EXPERIENCES AND EMPATHY

Through the broad range of examples outlined by Philips, we can see that the term cherishability means numerous things, including unpredictable, symbolic, sentimental, adaptive, enduring, personal and dependent, to name but a few. Cherishability is a useful term, a banner beneath which numerous creative product life-extension strategies may fall. Cherishability is a powerful signifier of an object’s capacity to be cherished, loved and cared for by whatever means; in this way it is a valuable term for measuring the degree of dependency perceived in a given object. Like empathy, cherishability

will, indeed, become an increasingly relevant design consideration in the sustainable marketplace of the future; though before this can happen, greater experimentation is needed regarding the creative methods through which it may be implemented.

Chapman, Jonathan: Emotionally Durable Design: Objects, Experiences and Empathy

To speak of love as existing within the material domain conjures notions of obscurity and fanaticism. Despite this, it cannot be ignored that the emotional instability of humans provides a wild card element to the development of attachments with objects. Furthermore, it appears clear that the human development of empathic relationships with objects is powerfully influenced by this characteristic instability. Designers must learn to embrace human unpredictability before they can attempt to effectively enrich and elongate subject– object engagement. Today, most people are comfortable in the misguided belief that love is an emotion exclusive to the human species. However, love is an intrinsic facet of mainstream material culture and has been for some time. Love interlaces the material fabric of one’s life; whether it is the love of a Renaissance painting, stewed apples and custard, a compact disc (CD) reminiscent of old friends, or even the love of your new G5 Mac, love abounds in both the made and unmade worlds.

Chapman, Jonathan. Emotionally Durable Design: Objects, Experiences and Empathy

Design Theory

A favourite object is a symbol, setting up a positive frame of mind, a reminder of pleasant memories, or sometimes an expression of oneself. And this object always has a story, a remembrance, and something that ties us personally to this particular object, this particular thing. Visceral, behavioural, and reflective: These three very different dimensions are

interwoven through any design. It is not possible to have design without all three. But more important, note how these three components interweave both emotions and cognition.

Norman, Don: Emotional Design: Why We Love (or Hate) Everyday Things

Slow Design can be defined as follows: A design process that is deeply conscious of the lifespan of its end product pre, during and post-consumer, and the materials and processes used in the creation of the product. Slow Design aims to result in products that carry a message of ecological soundness and consumer enjoyment.

Bridget Harvey: Is Slow Design a Viable Modern Production Method?

The Psychology of Aesthetics

The psychology of aesthetics and the arts is the study of our interactions with artworks; our reactions to paintings, literature, poetry, music, movies and performances; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world – of natural and built environments, design objects, consumer products and, of course, people.

Pablo P. L. Tinio and Jeffrey K. Smith: The Cambridge Handbook of the Psychology of Aesthetics and the Arts

Psychology

Between what a man calls me and what he simply calls mine the line is difficult to draw. We feel and act about certain things that are ours very much as we feel and act about ourselves.

William James: The Principles of Psychology

Our relationship with stuff starts early. The idea that we can own something, possess it as if a part of ourselves, is one that children grasp by the age of two. And by six, they exhibit the ‘endowment effect’, placing extra value on an object simply by virtue of it being, or having been, theirs.

Christian Jarrett: The Psychology of Stuff and Things

Material possession attachment is a multi-faceted property of the relationship between a specific individual or group of individuals and a specific, material object that an individual has psychologically appropriated, decommodified, and singularized through person-object interaction. Nine characteristics portray attachment: (1) attachment forms with specific material objects, not product categories or brands; (2) attachment possessions must be psychologically appropriated; (3) attachments are self-extensions; (4) attachments are decommodified and singularized; (5) attachment requires a personal history between person and possession; (6) attachment has the property of strength; (7) attachment is multifaceted; (8) attachment is emotionally complex; and (9) attachments evolve over time as the meaning of the self changes. Attachment is conceptually distinct from: general trait materialism, product category involvement, and evaluative affect toward the possession.

Susan Schultz Kleine: An Integrative Review of Material Possession Attachment

Consumerism

We cannot hope to understand consumer behaviour without first gaining some understanding of the meanings that consumers attach to possessions. A key to understanding what possessions mean is recognizing that, knowingly or unknowingly, intentionally or unintentionally, we regard our possessions as parts of ourselves.

Russell W. Belk. Possessions and the Extended Self

Above all, the slow approach means the simple, but in current times revolutionary, affirmation that it is not possible to produce and appreciate quality if we do not allow ourselves the time to do so, in other words, if we do not activate some kind of slowdown. However, slow does not only mean this. It also means a concrete way of actually putting this idea into practice. It means cultivating quality: linking products and their producers to their places of production and to their end-users who, by taking part in the production chain in different ways, become themselves co-producers.

Francesca Rossi, Giulia Simeone & Marianna Recchia. Slow + Design | Manifesto + Abstracts

Material Memory

In western traditions, objects serve memory in three main ways. Firstly, they furnish recollection; they constitute our picture of the past. Since objects are instrumental to the formation of consciousness, enabling the self to prise its sense of separation from the world, they are prominent among our mental debris. Secondly, objects stimulate remembering, not only through the deployed mnemonics of public monuments or mantlepiece souvenirs, but also by the serendipitous encounter, bringing back experiences that otherwise would have remained dormant, repressed or forgotten. Thirdly, objects form records: analogues to living memory, storing information beyond individual experience. Entering us through the senses they become history.

Marius Kwint: Material Memories Design and Evocation

Material Culture

We find it familiar to consider objects as useful or aesthetic, as necessities or vain indulgences. We are on less familiar ground when we consider objects as companions to our emotional

lives or as provocations to thought. The notion of evocative objects brings together these two less familiar ideas, underscoring the inseparability of thought and feeling in our relationship to things. We think with the objects we love; we love the objects we think with.

Sherry Turkle: Evocative Objects: Things We Think With

Because of cultural constructs and personal interests, we tend to examine carefully things that have sense and interest for us; we remove things from the inexhaustible canvas that forms the background of our field of perception, and we circumscribe them with forms suggested by the names for them in our language, by the notions we have acquired, and by our own personal projections.

Remo Bodei: The Life of Things, the Love of Things

Research into the dynamics between affiliative emotions and the material world provides a new avenue to our understanding of personally significant artefacts. Here we consider objects as sources of positive affiliative emotions, focusing specifically on their role as attachment objects. We argue that affiliative emotions in general, and attachment in particular, are an essential element of the interpretation of past material culture.

Taryn Bell & Penny Spikins: The Object of my Affection: Attachment, Security and Material Culture

We live today in a world of ever more stuff – what sometimes seems a deluge of goods and shopping. We tend to assume that this has two results: that we are more superficial, and that we are more materialistic, our relationships to things coming at the expense of our relationships to people. We make such assumptions, we speak in clichés, but we have rarely tried to put these assumptions to the test.

Daniel Miller: The Comfort of Things

Stuff is ubiquitous, and problematic. But whatever our environmental fears or concerns over materialism, we will not be helped by either a theory of stuff, or an attitude to stuff, that simply tries to oppose ourselves to it; as though the more we think of things as alien, the more we keep ourselves sacrosanct and pure. The idea that stuff somehow drains away our humanity, as we dissolve into a sticky mess of plastic and other commodities, is really an attempt to retain a rather simplistic and false view of pure and prior unsullied humanity.

Daniel Miller: Stuff

Material Culture: Fashion

There is a clear distinction between designing and making clothes. I encourage my students to design through making, because it is important to teach a process in which they negotiate the dynamic relationship between materials, ideas and the sensibility that emerges from their bodies and hands.

Pascale Gatzen

Material culture studies thus recognize that material objects do not exist in an opposition or in isolation from our lives but are closely interconnected with the social context in which they are used, appropriated, appreciated (or not, for that matter) and eventually discarded. In this respect, the focus shifts from consumption to usership

Kate Fletcher: The Craft of use

Clothes mark our mutability, paralleling the vicissitudes of our lives in their own subtle, shifts of colour, sheen and quality over time. The insight that follows from this is pressing and plain and all the more true for it: our clothes age and we age in them too. Moment

by moment, we erode and attenuate, our claim to life loosening like a seam that can no longer hold. In new clothes we disguise our mortality but even the best of them wear. In the thinning of the threads, the gradual blanching of a former brilliance, our clothes speak truth to the deception that we could ever have thought that we might stay as we once were forever.

Shahidha Bari: Dressed: A Philosophy of Clothes

Traces of wear, shortened hemlines, and careful mends can be found even on haute couture designs. These alterations signify the lasting economic and emotional value of clothing and, in some cases, challenge the concept of fashion as a strictly ephemeral, disposable commodity. Unless such imperfections are intentional — as they are in deconstructed fashion — these garments are often overlooked within museum collections. If they are selected for exhibition, curators rely on the expert work of a conservator, a gallery’s low lighting, or strategic placement to cleverly obscure flaws. In recent years, however, as interest in the “biographies” of garments has grown, fashion historians have begun to reassess imperfect objects. Studies of specific items may reveal intriguing histories about their wearers and/or makers, poignant reminders of the deeply personal and physical relationships we have with our clothes.

Cheri Fein: Fashion Institute of Technology: Fashion Unraveled

Clothes are at once the most intimate thing we own and the most public. Intimate, because they are next to our skin, soaking up secretions, absorbing perfume, covering or revealing as custom, culture or personal taste dictates. Public because they are often the first thing people notice about us. Displaying a staggering amount of information about our gender, culture, class, profession, status, morality and creativity. Yet usually we fling them on without a thought for the wealth of meaning they carry.

Lucy Adlington: Stitches in Time

Illustrations

Figure 1. Nominated For Examination, Bedroom Wallpaper.

Figure 2. Myself Wearing My Party Frock, Christmas Day 1976.

Figure 3. Nominated For Examination, Crown Derby Brooches.

Figure 4. A Selection Of The Reading Material.

Figure 5. Nominated For Examination, Christmas Cake Receipe.

Figure 6. Nominated For Examination, Broken Limb Pot.

Figure 7. Nominated For Examination, Broken Horse.

Figure 8. Nominated For Examination, Frozen Buns.

Figure 9. Nominated For Examination, Intact Panda.

Figure 10. Intact Panda. The Only Unbroken Figurine My Nana Owned.

Figure 11. Two-Legged Giraffe.

Figure 12. Decapitated Beswick Fox.

Figure 13. Beswick Donkey, Broken By Myself Not By My Nana.

Figure 14. Sample Cyanotype, Created Using My Nana’s Figurines.

Figure 15. Mended Giraffe.

Figure 16. My Nana, Whitstable Beach 2006.

Figure 17. Cutlery Drawer Lining.

Figure 18. My Nana’s Last Batch Of Buns, Frozen In 2009.

Figure 19. Collection Of Beswick And Sylvac Figurines.

Figure 20. Ceramic Cat And Kittens.

Figure 21. Ceramic Cat And Kittens.

Figure 22. My Nana’s Bus Ticket.

Figure 23. My Nana Wearing Her Popper Beads 2006.

Figure 24. Lost Limb Pot, Complete With Broken Leprechaun.

Figure 25. Three-Legged Zebra.

Figure 26. Sylvac Bunny With Reattached Ears.

Figure 27. My Nana,S Ornaments, Displayed On Her Shelves In My Living Room.

Figure 28. My Nana, Sat At The Kitchen Table Of My Childhood Home 1991.

UNLESS OTHERWISE STATED ALL ARTIFACTS PICTURED ONCE BELONGED TO MY NANA. ALL PHOTOGRAPHS WERE TAKEN BY MYSELF APRIL 2021, EXCEPT FOR FIGURE 2. TAKEN FROM MY FAMILY ALBUM.

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