This is a collection of images which map Canterbury’s Shelford landfill site. The landfill is an obscured space, deliberately hidden by geography, fencing, and unreadable planning documents.

Research published by Paul Habineza at New School of the Anthropocene, July 2025.

Our project is an exploration of the idea of courage in the Anthropocene. Our interest in this developed from our earlier study of the work of Jorie Graham, an American eco-poet, whose most recent collection addresses an apocalyptic near-future (2040), and for whom courage has superseded notions of hope.

I invited residents from the new-build town where I live to take an hour with me to make botanical inks and to paint with them onto paper seeded with wildflowers. This is a project about reunion, regeneration and letting go, on a land with which we have yet to connect, during a time of collapse.

When I found the New School of the Anthropocene, I was halfway through writing a book ‘Rag Manifesto’ based around my project ‘Rag School’ at East London Textile Arts.

The piece which was used to make this video was written in the style of James Joyce’s experimental novel, Finnegan's Wake (1939). The animated text is cut with footage of young people riding bikes and a performance I took part in, which was based on Finnegan's Wake at Cleveland Performing Arts Festival 1995.

Attempt to make an object which encapsulates home. Portable so it can be taken with me. A connection to the living land. To embody a place in small form. An object to bring joy and connection.

Wanting to work with living materials in a no waste, non extractive process, seeing the beauty in the overlooked. I wanted to make something beautiful working with a living material which is often overlooked and even unwanted in many places.

My NSOTA research project is a sonic investigation into the potentials of sound within the embodied impact of the Anthropocene.

This is my second year at NSotA. This year's project is a continuation of the one I started in the first with its overarching theme of place and being ‘most in a place’, all anchored within the parish boundary where I live in Hampshire, UK.