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Magical Realism: Mostly based in reality with just one thing off. Often much more literary than mythic.
Across a range of characters and times, Almond shows that landscapes scorched by chemicals, scarred by mining, and disfigured by debris from old buildings and infrastructure can be places of creativity and mystery and beauty. She and her companions decide the man was once a saint from the early days of Christianity in the North East and believe he comes to their aid when they need to find a way to manage and commemorate the corpse of Grampa , the old man who has been helping them.
These materials can include concrete, metal, fiberglass, and various types of plastics. The sealant must also have strong bonding capabilities to create a durable and long-lasting seal. In addition to adhesion, underwater sealants typically possess excellent resistance to water pressure.
Children’s Magical Realism for New Spatial Interactions: Augmented Reality and the David Almond Archives
This article draws on a multi-disciplinary project based on the David Almond archives at Seven Stories, the National Centre for Children’s Books in Newcastle upon Tyne, UK. The project combined archival research, augmented reality (AR) technology, Almond’s magical realist writing and experimental workshops to explore whether AR can enhance young people’s engagement with archives and literature. In the process it highlighted the extent to which Almond’s fiction is itself a form of augmentation that represents a particular geographical location—the North East of England—in ways that challenge official accounts of that place. This aspect of Almond’s writing corresponds to what Michel de Certeau describes as tactical spatial practice and is closely associated with some forms of AR.
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When, in the spring of 2018, David Almond donated his literary archive to Seven Stories, Britain’s national museum and archive for children’s books in Newcastle-upon-Tyne, he probably imagined its contents being used by lone scholars sitting at desks and sorting through his papers for the purpose of writing articles and monographs. In fact, the first foray into the Almond archive resulted in scenes as strange and transformative as anything David Almond has written, and all taking place in the Ouseburn Valley where he grew up and where most of his fiction is set. The research was part of a project devised in response to a challenge by UK research councils to demonstrate how the arts and humanities can inform the development of new immersive technologies, including their role in the work of increasing access to and use of the assets of cultural organisations. Footnote 1 Called ‘Children’s magical realism for new spatial interactions: AR and archives,’ it enabled researchers from Newcastle University’s Children’s Literature Unit and Culture Lab (the University’s centre for research in creative digital practice) to join with members of Seven Stories’ collections, exhibition design, and creative events teams to run a series of six experimental workshops. The workshops involved children between the ages of seven and fourteen, some of their parents and teachers, Seven Stories staff, and local app developers. The workshops fed into the development of an interactive smartphone app, Magical Reality, which accompanied both ‘Where Your Wings Were’, a Seven Stories exhibition about David Almond, and ‘Winged Tales of the North’, a related sculpture trail winding through the Ouseburn Valley around Seven Stories (Fig. 1). At a number of levels, the project used children’s literature and technology to find new ways to tell stories about places and their links to the past.
Fig. 1Image of David Almond with a mural from ‘Winged Tales of the North’
The app employs Augmented Reality (AR) technology, a digital means of mixing real and virtual environments by adding digital layers to the physical world, perhaps the most familiar example being gaming applications such as Pokémon Go. In this case, the Magical Reality app places three-dimensional digitally generated objects based on notes and sketches from David Almond’s working papers in and around the Seven Stories visitor centre and the sculpture trail. Users move through the space with smartphones onto which the app has been downloaded. A series of prompts directs them where to point their phone and as the coordinates align, a magical realism inspired item from the Almond archive appears and performs some kind of action related to the space. Finding the items proved so engaging that users had to be reminded to watch for hazards, including traffic on the roads, as they explored the trail!
At an intellectual level for the researchers, Almond’s work, magical realism and AR technology underpinned the outcomes and so in the following discussion, this background is set out first, to contextualise the applied dimension of the research. Equally important, however, was the need to engage the children and young people with archival material with a view to expanding the way archives are used, by whom and to what ends. Emphasis on archives also sets the project apart from other experiments with narrative that bring together digital and print texts, the most notable being These Pages Fall Like Ash, a 2013 project set in Bristol in which users read instalments in a fiction based in the city in the two media (see Abba and Speakman, 2013; Butler, 2018). Ultimately, all of these interests—Almond, archives, magical realism and AR—had to coalesce in the app, for which workshop participants were co-developers in terms of content selection and user satisfaction. These aspects of the project comprise the second part of the discussion, where the workshops are also described.
Creating the app was only one part of the research project, however. The workshops and development process drew on some of the more culturally meaningful uses of AR. For instance, AR digital graffiti has been used at historical sites to incorporate stories and voices absent in official accounts, changing how these sites are understood and whose stories they tell (see Liao and Humphreys, 2014; Løvlie, 2009). It was this aspect of AR that gave the project its focus on the David Almond archive; Almond’s work was chosen for the project for its affinities with AR. A starting premise of the research was that his children’s books function as a literary form of AR in the way they attempt to ‘change the narration of existing place’ (Liao and Humphreys, 2014, p. 14). This understanding grew in the course of the project as the lens of AR highlighted the extent to which Almond’s writing incorporates stories, voices and experiences left out of some longstanding representations of the region, not least those underpinning some government policies and resourcing strategies. Borrowing from Michel de Certeau’s theories of spatial practice, Almond’s fiction can be understood as creating ‘tactical’ spaces, for in them readers imaginatively move through the geographical landscape that provides his settings in ways that challenge or subvert official (what de Certeau calls ‘strategic’) meanings (1984, p. 37).
They are engineered to withstand the forces exerted by the surrounding water, ensuring that the seal remains intact even under high-pressure conditions. Furthermore, underwater sealants are formulated to resist the corrosive effects of saltwater and marine organisms. They are designed to be resistant to degradation caused by exposure to sunlight, extreme temperatures, and chemicals commonly found in aquatic environments. Underwater sealants are available in a range of formulations, including epoxy-based, polyurethane-based, and silicone-based sealants. Each type has its own advantages and is chosen based on the specific requirements of the underwater application. In conclusion, underwater magic sealants play a crucial role in maintaining the integrity of structures and equipment in underwater environments. Their unique properties make them suitable for a wide range of applications, providing a reliable and durable solution for underwater sealing needs..
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