Seeing:
In creating Investigating Imaginary Evidence, a number of texts emerged and re-emerged as somehow directly addressing either Imaginary Evidence itself or the process of investigation being undertaken. Perhaps Guido Costa most directly described both in his writing about Nan Goldin's work.

“Everything is transformed by a different awareness of truth and reality.”
Guido Costa in Nan Goldin 55, (2001) Phaidon, London

Storytelling:
There is, in Imaginary Evidence, as in most of Forced Entertainment's work, a certain economy of storytelling. These stories are necessarily impossible and impossibly personal. These stories become the narratives that shape the performances and other work of the company and can be said to have a certain inextricable connection to the contemporary memory of England. In developing Investigating Imaginary Evidence, Ian Penman's notion of the story provided a point of entry to considering the texts (visual, aural and other) inside of Imaginary Evidence.

“Stories are necessary, enchanting, evocative things; but they can also be the means by which our dreams are traduced or defused, defiled or filed away. We learn to read sidewise. We learn to read by the light of secret planets and signs.”
Ian Penman’s intro to Robert Frank’s Storylines, (2004) Tate Publishing, London

Map-making:
In his writing on maps, Denis Wood refers to the structure and transmission of information as being concretely related to one another. He suggests that they are, in the context of a map, inextricably linked as parallel elements within the construction of experience. Those ideas bear particular relevance in exploring the structures, maps and journeys within the project.

“Writing, with its logographic and linguistic means, grew into one immense branch; mapping and other spatialized arts with their iconographic & pictorial means, into another, but both writing and mapping remained rooted in the same soil.”
Denis Wood, The Power of Maps, p.174, (1992) The Guildford Press, New York