ABSTRACT
Methodologies evolving between contemporary visual artists and cultural geographers are bringing new perspectives to bear on landscape studies and lived experience. The methodologies and techniques which were developed in response to the Royal Air Force (RAF) Coltishall project have further application in other civil and military contexts. Boundaries and edges between civil and military in institutions such as the UK Atomic Energy Authority (UKAEA) are often porous, blurred and vague. In addition, a visual sensibility can tease out revealing aspects of the imagery generated by and around technologies in the post-war period, and recombine them using digital tools to make a reflexive experience for the viewer. Piecemeal privatisations have left many seemingly military structures and resources under the control of corporate entities. In this case, the prime example of relevance to the project outcome was the privatization of the Jaguar simulator facility, controlled by Thales, a French-based multinational.
