The Hurrier, video/sound, Anne Robinson, 2021, headpiece shown by Charlotte Squire



1 Betty Harris, testimony to Ashley’s Mines Commission [Parliamentary Papers, 1842, vols. XV-XVII, Appendix I, pp. 252, 258, 439, 461; Appendix II, pp. 107, 122, 205.] (accessed 30/10/2020) 

2 Piss Factory (1974) Patti Smith.

3 Construction drawings by Robinson, 2020, based on archival film footage from educational film:

Nine Centuries of Coal,  1958, UK 31mins. dir. J. B. Napier-Bell.

4 Henry Higgins, character in My Fair Lady, 1964, US, dir. George Cukor, based on Pygmalion by G. B. Shaw. (With thanks to Frances Hatherley who cites this dialogue in her PhD thesis).

5 Beverley Skeggs (2016) Class: Disidentification, Singular Selves and Person-Value. 31/10/20)

Wakeful (2018) project website:

7 Jeffrey Sconce (2000) Haunted Media: Electronic Presence from Telegraphy to Television, Durham: Duke University Press, p92.

8 Images from Kirk Sessions Records 1799-1880, Dailly Parish, held at Ayrshire Archives: two entries on Robinson ancestors: Ann Kennedy and Rosina Burns. Also 1833-4 Poor’s Roll for Dailly Parish and Kirk Sessions Records for Colmonell, held at Ayrshire Archives.

(9) from Kirk Sessions Records 1799-1880, Dailly Parish, held at Ayrshire Archives

10 The ‘Branks’ or scold’s bridle’ Scotland. Image from: 30/10/20)

11 Draft storyboard image (2020) Robinson.

12  Iraqi saying on parents handing over children for  ‘apprenticeship’. Seen by the artist in Michael Rakowitz exhibition, Whitechapel Gallery, 2018.

13 See: P.E.H. Hair (2000) Slavery and liberty: The case of the Scottish Colliers, Slavery & Abolition, 21:3.

14 Testimony Gathered by Ashley’s Mines Commission [Parliamentary Papers, 1842, vols. XV-XVII, Appendix I, pp. 252, 258, 439, 461; Appendix II, pp. 107, 122, 205.] (accessed 30/10/2020)

15 ‘A Case of Accidental Entombment’ in:The Scotsman, 7 November, 1835.

16 Ken Taylor (1964, The Devil and John Brown, screenplay.

17 Thea Musgrave (1967) The Decision, opera with Libretto by Maurice Lyndsay.

18 Still from: Aelita (1924), dir. Yakov Protazanov, USSR.

 19 Michael Sainato (2020) ’I’m not a robot’: Amazon workers condemn unsafe, grueling conditions at warehouse’ in The Guardian, Mon. 5th Feb. 2020. (accessed 31/10/2020.

20 Beverley Skeggs (2004) Class, Self Culture, London, NY: Rooutledge, p180.

21 bell hooks (1984) Feminist theory form margins to center.

22 Françoise Vergès (2019) ‘Capitalocene, Waste, Race, and Gender’ in E-flux, Journal #100 May 2019  (accessed: 30/10/2020).

23 David Graeber (2014) ‘Caring too much. That’s the curse of the working classes’ in: The Guardian,  Weds 26th March, 2014 (accessed: 30/10/2020). 

24 Valerie Walkerdine (1994) ‘Working class women : psychological and social aspects of survival’ in: Persée, (accessed: 30/10/2020).

25 Rhian E. Jones (2013) Clampdown: Pop-Cultural Wars on Class and Gender, Zero Books.

26 Works including: 

Kae Tempest:Brand New Ancients, 2013.

Lois Weaver and Split Britches: Upwardly Mobile Home, 1984.

Petra Bauer and SCOT-PEP: Workers!  2019.

Andrea Luka Zimmerman: Here for Life, 2018.

27 Frances Hatherley (2017) Sublime Dissension: A Working-Class Anti-PygmalionAesthetics of the Female Grotesque, PhD thesis, Middlesex University.

28 Robinson, 2020, writings in progress for The Hurrier.

29 Photo credit: “amazon warehouse” by hnnbz is licensed under CC BY 2.0

30 Simon O’Sullivan, (accessed 14/06/2021)

31 Robinson, 2020, Some Further Thoughts on Invisibility’, writings in progress for The Hurrier.

32 David Graeber, interviewed by Stuart Jeffries, The Guardian, 21 March, 2015 (accessed 18 11 21).

33 Audre Lorde (2018) The Master’s Tools Will Never Dismantle the Master’s House. London: Penguin Classics. (original publication: )

34 Walter Benjamin (1940) ‘Theses on the Philosophy of History, in Hannah Arendt, (ed.) Illuminations, trans. Harry Zohn, 1968, New York: Schocken Books, pp 253-264.

Further information about the Scottish Kirk Sessions may be found at:

and on Mining in Scotland at:

The project as a whole is supported by: Middlesex University, Feminist Librart, APT Gallery and Five Years Gallery.. and a huge thank you to all who supported the Crowdfunder for this work – very much appreciated. Thanks also to the amazing Working Class Creatives Database for the ‘instagram takeover’ in May – such great feedback and connections from that!

For further information, please contact:

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