on walking schedule

7/22/2019 On Walking Schedule

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CONFERENCE PROGRAMME


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DAY 1 (Friday, 28thJune 2013)

8.45 9.00 Registration (Prospect, Upper Social Space)

9.00 9.10 Welcome (Prospect 009)

9.10-10.30 SESSION 1 Panel 1a (MC 234) CHAIR: MIKE COLLIERDIANE SMITH The Walking InstituteANDREA TOTH & JUDY THOMAS Heavens AboveMORAG ROSE Loitering with Intent to Make Manchester WonderfulMARIE-ANN LERJEN Conceptual Walks with Groups

Panel 1b (Prospect 009) CHAIR: CAROL MCKAYTOM SYKES The Architectural Site as Muse: Georges Perec and Walking into TopophiliaPASCAL GIN Walking the Contemporary Landscape: Pedestrian Tactics in Jean Rolins Literary JournalismROSALINDA RUIZ SCARFUTO The Beat of Walking: Wordsworth, Machado, Kerouac, Whitman

10.30-10.50 Tea and Coffee Break(Prospect, Upper Social Space)

10.50-12.15 SESSION 2 Panel 2 (Prospect 009) CHAIR: MARC BOTHARUTH BURGON Haunted Footsteps: The Sound-Walk and the Doubled SubjectANN MATTHEWS Self-Imposed Control: Walking and Documenting the Multiple CityMARIE-ANN LERJEN Highlighting a CitylineCHIARA SERENELLI Walking (along) Liminal Landscapes

WALK (Meet in Prospect, Upper Social Space)ALISON LLOYD -- Contouring, or, she canna contour

12.15-13.15 Lunch Break (Prospect, Upper Social Space)

13.15-14.45 SESSION 3 Panel 3a (Prospect 009) CHAIR: CAROL MCKAY

TONY WILLIAMS Iterations: Days, Walks, Excursions, Episodes, Chapters, ScenesSHANE McCORRISTINE Walking in the 19th-Century Arctic: Embodied and Disembodied KnowledgesJUDITH P. ROBERTSON Walking in Literary Pilgrimage with Annie Liebowitz and Virginia WoolfELIZABETH YEOMAN Nutshimit: Walking as Protest and Everyday Practice in Innu Labrador

Panel 3b(MC 234) CHAIR: CLARE QUALMANNTOM CALVERT Examining Everyday Pedestrian Experience with a Phenomenological PerspectiveCLARISSA RODRIGUEZ GONZALEZ Androgynous Walking: a New Referent from a Brazilian ArtisticPerspectiveBRIDGET SHERIDAN Paths of MemoryTIFFANY HAMBLEY Recounting Shikoku

14.45-16.00 SESSION 4 Panel 4a(MC 234) CHAIR: MIKE COLLIER

PAUL GOODFELLOW System Walks: Sampling ColourDON GILL Erratic SpaceINGE PANNEELS map-I

Panel 4b(Prospect 009) CHAIR: MARC BOTHASHIRLEY CHUBB Significant WalksMICHELLE MANTSIO Consider Walking: Engaging Hospitable Environments for Self-SupportANNA JORNGARDEN The Mind of the Walker: Meditation and Madness

16.00-16.30 Tea and Coffee Break (Prospect, Upper Social Space)

16.30-18.00 SESSION 5 Panel 5a (Prospect 009) CHAIR: MARC BOTHAMARK JAMES & TIM OFFER Ambulation: Appraisal, Proposal, Approach

WRIGHTS & SITES (HODGE, PERSEGHETTI, TURNER, SMITH) The Architect-Walker: Manifesto andManifestationsZOE ANDERSON A Guide to WalkingTIM BRENNAN STOP! DONT WALK! Saying Goodbye to Tom, Dick, and Henrietta


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Panel 5b (MC234) CHAIR: WALTER LEWISAMY TODMAN Walking the Five Sisters at Silbury HillAMY JONES Walking Wales: Experience, Movement, and a Sense of Place on the Wales Coastal PathCHARLOTTE JONES Sensory Score as Research ToolRUBY WALLIS Autowalks: Is it Possible to Define Place Through Artistic Practice/?

19.00-21.30 Curators Tour and Artists Talks followed by Wine Reception, Talk by Tom Chivers, and Poetry Reading by AlecFinlay at the WALK ON exhibition, NGCA

ATUL BHALLA , BRIAN THOMPSON, BRYNDIS SNAEBJORNSDOTTIR, MARK WILSON, MIKE COLLIER, RACHAEL CLEWLOW, TIM BRENNAN

TOM CHIVERS, ALEC FINLAY


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DAY 2 (Saturday, 29thJune 2013)

9.00-10.30 SESSION 6 Panel 6a (Prospect 007) CHAIR: MIKE COLLIERANDREW TOLAND Walking Landscape UrbanismDARREN CARLAW 21st-Century Flneur? Reinterpreting the Literary Urban Wanderer for the NewMilleniumRUDI VAN ETTEGER Wish You Were Here, Walking With MeCHRISTOPHER COLLIER The Contemporary Drive: Recombination and Recomposition

Panel 6b (Prospect 009) CHAIR: MARC BOTHABARBARA LOUNDER The Longest (Ongoing) Walk: Walking as Protest and CommemorationJAMES LAYTON Communitas, Ritual, and Transformation in Robert Wilsons WalkingMORGAN BEEBY A walk across a continent: meditations on time and ritual; space and pilgrimageAILSA GRIEVE Walking as Ceremony

10.30 11.00 Tea and Coffee Break (Prospect, Upper Social Space)

11.00-12.30 SESSION 7 Panel 7 (Prospect 009) CHAIR: CAROL MCKAYBRUCE BAUGH Retracing and Remembering: In the Steps of Andr Breton and NadjaPHILIPPE GUILLAUME Walking, Photography, and Thirdspacealong the Boulevard Saint-Laurent

ERNIE KROEGER On Walking and Photography: Henri Cartier-Bresson and Gary WinograndASLI OZGEN-TUNCER Cinematic Pedestrianism: Flnerie, Fluidity, Urban Aesthetics, and Mobility

WALK (Meet in Prospect, Upper Social Space)IDIT NATHAN AND HELEN STRATFORD -- Walk & Play || Sunder & Land

12.30-13.30 Lunch Break(Prospect, Upper Social Space)

13.30-14.30 KEYNOTE PRESENTATION(Prospect 009)

TIM INGOLD The Maze and the Labyrinth: Walking and the Education of Attention

14.30-15.00 Tea and Coffee Break (Prospect, Upper Social Space)

15.00-16.30 SESSION 8 Panel 8a (Prospect 009) CHAIR: MIKE COLLIERAILEEN HARVEY Walking, Art, and Non-Pictorial Representations of LandscapeKRIS DARBY Cant We Stay Here? A Lone Twin Non-TripJO VERGUNST Watercolours and Walking Art: Treading the Politics of Landscape with Hamish FultonMARK RILEY Pathmarking: Walking the Heidegger Rundweg at Todtnauberg

Panel 8b (Prospect 007) CHAIR: MARC BOTHACLARE QUALMANN walkwalkwalk: Stories from the Bethnal Green ArchiveIDIT NATHAN Sites and Sights at the Throw of a Die Making Sense of a Contested Terrain ThroughWalking and PlayingSARA WOOKEY (A) (No)body Walks in L.A.: Prompting Social and Perceptive Experiences in Los(t)Angeles

WALTER LEWIS Walking with Gablik

16.30-17.00 Closing Roundtable and Farewells (Prospect 009)

17.00 -- Optional Visit to The Resilience of the Wild Exhibition with artist Mike Collier at the Customs House Gallery


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PANEL DETAILS


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PANEL 1A

DIANE SMITH (Deveron Arts) || CLAUDIA ZEISKE (Deveron Arts) -- The Walking Institute

We would like to present the Walking Institute to the conference; the background to this new project; our current programme and why wefelt the need to create a coherent Institute focused on commissioning new work with the context of walking & art at the present time.

Over the past 15 years, Deveron Arts has deepened its focus around the notions of walking and hospitality through developing research andaction programmes. With this working practice and experience, Deveron Arts is setting up this new venture, with the aim of becoming, byApril 2014, a separate and independent organisation called The Walking Inst itute. The Institute will be a year round centre of excellencewithin the walking and art discourse. It will bring walking activities together with arts and other cultural disciplines with people from all walksof life and engage them in a range of walking activities which are both accessible and creative.

The Institute has two main aims: Research & Mapping: research and map the philosophy of walking and links across art discourseprimarily, and politics, community, seasons, etc. Activities: identify and develop activities and new paths & trails by creating path networks geographical, historical and anthropological which connects to the broadening networks and dialogues existing across the globe.

Whilst core development will happen in Scotland, the aspiration of the programme is to spiral out geographically and to include satelliteevents and collaborations elsewhere. Our presentation will be focused on discussion and engagement.

ANDREA TOTH || JUDY THOMAS -- Heavens Above

This paper explores a collaborative art practice of walking together, merging experiencing, making, presenting, and social engagement. Ourwalks have become a platform to share ideas and make new work, providing not only motivation but also a safe space to explore themes ofmemory, space and spirituality, while being inspired by weather, light and the landscape.The value of this relationship is huge. To be an artist is a predominantly solitary activity; to be able to have support and be supported givesgreat strength. Our combined experiences, thoughts and connections enhance greatly what might have been done individually. Thecollaboration is pushing us both to be more courageous and move out of our comfort zones.Through a process of painting, photography and film, we are in a research phase, responding directly to the physical world, bridging to aninner spiritual world, through visual representation. The act of walking and getting into the landscape also gives us a chance to pause andreflect on our individual and collaborative work, which is an important and integral step in the creative process. Our ongoing questioningdialogue along with walking with others opens up thoughts and possibilities at a greater and deeper level than if done individually.Extending the social aspect of the project to a wider audience, we are hosting a series of Northumberland walks during National Park week

(July 29 August 4 2013), which will bring people together, celebrate the landscape, consider the environment and value the world in whichwe live.

MORAG ROSE -- Loitering with Intent to Make Manchester Wonderful

In 2006 I co-founded The LRM (Loiterers Resistance Movement) a Manchester based nterdisciplinary collective interested inpsychogeography. For The LRM Psychogeography is a kinaesthetic practice; a multi-sensory and playful tactic for community engagement.Inspired by The Situationist Internationale, the concept of the derive is the starting point for a range of unorthodox public tours. Walking is away to provoke dialogue and new ways of seeing the city.The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, ncover hidden histories and discover theextraordinary in the banal. They aim to nurture critical awareness of everyday space, (re)engaging with and (re)enchanting the city.The LRM's events are ephemeral but we have experimented with a range of ecording and analytical methods to capture their essence. I aminterested in blurring the oundaries between academia, activism and personal experience and this paper will present fieldnotes from an

ongoing experiment in remapping Manchester through our wanderings.

MARIE-ANN LERJEN (Agency for Walking Culture, Swizerland) -- Conceptual walks with groups (Pecha-Kucha paper)

One of the aims of the Agency for Walking Culture is to explore an embodied active learning of urban space. Therefore the Agency invitespeople to participate in conceptual walks. A conceptual walk with a group begins with an introduction to the experimental setting, whichsupplies the framework for the experience. For example, the outline of the walked route could proceed from a shape that is placed atrandom on a city map. Alternatively, the route is designed following or traversing strong lines in the city structure (etc.). Walking in silenceintensifies receptiveness to the features of the respective environment. The guide leads the group along the chosen route, but also takespart in the experiment. An important part of these walks with groups is a moment of reflection and exchange of experiences at the end ofthe walk.


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PANEL 1B

TOM SYKES -- The Architectural Site as Muse: Georges Perec and Walking into Topophilia

Architecture exists in space, but it happens in places. Lasting and meaningful architecture responds to and intervenes with its milieu, yet theprocess of designing is done almost entirely seated in offices and studios great distances from the sites of construction. This paper seeks toforge the outline of a methodology for creating lasting renditions of place through intense perambulatory investigation. Georges Perecs

notational writing on Paris sets out a schema for a way walking, not walking, drinking coffee, and most importantly, watching that issuggestive of a sites movement from a geometric space into a loaded and inspiring place; the site as a muse for the design process. Themethodology is developed through the unpacking of Perecs stylistic systems, uncovering hints of other ways of recording the site in moregraphical and interactive forms, the goal being a subjective rendition of Tuans topistic (Tuan, 1991) aspects of a specific geographical localethat inspires immersion in its atmosphere even when physically distant.Illustrated through the example of a large scale architectural project amidst Birminghams canals this case study is founded on the rewardsof urban exploration and adventure in forming a lasting bond with place. The discussion of this project is used as a vehicle for thedevelopment of another theoretical implication: the suggestion that these early recordings act, in the terminology of Roland BarthessMythologies, as pure meaning, endowing the process of design with the act of myth-making, and offering a critical perspective for developingpersonal design, and walking, methodologies and challenging existing ones.

DR. PASCAL GIN (CARLETON UNIVERSITY) -- Walking the contemporary landscape: pedestrian tactics in Jean Rolins literary

journalism

and the cypress-lined road made its way into the landscape As Henri Lefebvre notoriously pointed out, spatial representations arefraught with the ideological trappings of self-evidence. From the fixity fetish of atemporal places to the abstraction of users walking theTuscan road, an iconography of the distinctively local easily paints over, in Lefebvres analysis, historical processes of social production.Beware, then, of the cypress-lined road. Unless, possibly, one were to walk the road. Indeed, pedestrian engagement with spatial forms andcontexts yields an experience and cognition that reach beyond a rhetoric of visibility. As mobility becomes human agency to echo TimCreswell commenting on Michel de Certeau the pragmatics of walking blurs the presence effect of scenery and draws attention to themany movements shaping a sense of place, starting with the process of enlacement (Wylie) that binds pedestrian motion, the pathtravelled, and representation on the move. Reaching beyond 18th century Tuscany to the literary landscaping of contemporary spaces, thispaper will investigate how the walk is integrated as a tactic of representation within the work of French literary journalist Jean Rolin. With afocus on peri-urban districts or stretches of industrial borderland, this practitioner of slow journalism routinely walks his readers throughtexts shaped by hyperlocal pedestrian narratives. As such, spatial representation in Rolins works stands at odds with a global imaginary

sized to the unimpeded mobility of mass media flows and the collage effect (Giddens) of a dematerialized connexity. From actual journeysto textual device, walks provide the writer with a range of experiential and figurative options, which this paper will undertake to assess.

ROSALINDA RUIZ SCARFUTO (University of Alcala) -- The Beat of Walking: Wordsworth, Machado, Kerouac, Whitman

How the rhythm of a poets muse has its roots in skipping across the land, like a stone across the water, making ripples in our natural/literaryheritageFour poets act of walking transformed not only themselves, but also other artists. Antonio Machado was opposed to the act of Greekgymnastics, proposing walking in his boyhood Guadarrama mountains to become fit in body and mind. Walt Whitman found a leaf of grassas the alternative to a blade of grass changing our view of semantics (violent or non-violent) as he walked his native grasslands of LongIsland, New York; leaving (leafing) us his legacy to find the song of ourselves. Wordsworth wandered out to the Lake District, gathering onwalks Feather, or leaf, or weed, or withered bough, that would serve to create collages of any kind. He drew writers from afar, intellectualurban dwellers, to follow in his skip to appreciate rural life as inspiration. Kerouac land-escapes to the forest after being On the Road and

meeting G. Snyder (inspired by Basho), thus producing Dharma Bums. Walk your talk is how these poets commun-i-cated for the comingartists to be or...


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PANEL 2

RUTH BURGON (University of Edinburgh) Haunted Footsteps: the sound-walk and the doubled subject

In recent years one of the ways in which walking has become recognised, practised and theorised as an aesthetic practice is through the re-emergence of psychogeography, a term taken from the Situationists but now re-imagined in a new guise. Psychogeography is full ofwhispers, histories that resonate with the psyche of the walker. For some, this is a confirmation of ones place within history; to be haunted

by the past is a kind of continuity. But to haunt, or to haunt oneself, is arguably a fracture, a detachment from ones own subjectivity and aquestioning of lineage.This paper will explore artists use of the sound walk or audio walk in relation to the concept of haunting. This will include artists who usethe recorded voice as a means of conducting a guided walk (Janet Cardiff, Simon Pope), those who record their own experiences whilewalking (Andra McCartney and Sandra Gabriele), turn such experiences into audio essays (Mark Fisher and Justin Barton) and those whouse the live voice while moving through different urban environments (Tim Brennan, Maryclare Fo).I am interested not just in the psychogeographical trait of unearthing histories through the act of urban exploration on foot, but also in thesubject position conjured by such a practice. Through their use of voice, echo and resonance artists who engage in sound walking not onlytrace histories, but trouble them, and by doing so also trouble the subject position of the walker, who looks over her shoulder, pursued,doubled.

ANN MATTHEWS (Northumbria University) -- Self-imposed Controls: Walking and Documenting the multipleCity

In this paper, I will discuss the experience of walking in relation to the predetermined self-imposed controlsI employ which influence how Imove through the city. These controlsare methods which enable me to approach walking in different states of mind, leading to differentresponses that culminate in a rich resource from which to create creative texts that reflect the multiple city.

Ideologically, I perceive and also experience the city as a multiplecity: encountering the difference/s, the plurality of the spaces that I walk,picking up on the diversity and heterogeneous nature of the urban environment; and of being an otheramong many diverse others afragment of what defines that place physically, socially and culturally. To reflect this I vary my methods of walking.

I will discuss two methods, Guy Debords driveand my adaption of Gilles Deleuze and Felix Guattaris concept of the rhizome. Debordsdriveis a type of oppositional walking with an explicit agenda to negate the dominant capitalist structure and ideology of the city bydeliberately: seek[ing] out reasons for movement other than those for which the environment was designed; [...] bringing an invertedperspective to bear on the entirety of the spectacular world. (Sadie Plant The Most Radical Gesture). According toDeleuze and Guattari:The rhizome itself assumes very diverse forms defined by its very nature as a series of roots that exten[d] in all directions. (A Thousand

Plateaus).They apply this idea of multiple networks with multiple connections, as opposed to a single taproot, to mapping ideas, writing,objects, places and people.

MARIE-ANN LERJEN (Agency for Walking Culture, Swizerland) Highlighting a cityline (Pecha-Kucha Paper)

The starting point for the project Geleit (escort) for a film festival in Brig- Glis, a city in the Swiss mountains, was a historical waterline. Theaim was to make the actual urban landscape visible from a culturally important line as a divergent spatial structure. Therefore the film wasmade using an innovative technique: a walking performer was photographed in tightly framed shots. Out of over 1,000 images acomposition was created. In this image strip each picture is still visible. The strip was animated in a way that the spatial and temporalprogression of ambulation is inscribed in the film. At the same time the form of the city through which the performer is moving is visible in theforeground and background, panorama-like yet fragmented. The result is an observation rich in detail.

CHIARA SERENELLI (University of Florence) -- Walking (along) liminal landscapes.

Walking as a device for constructing processes of social participation for contemporary landscape planning: a case study in Italy alonghistorical pilgrims trails.

The author considers Walking as a practice able to give spatial configuration to the liminal dimension characterizing religious rituals such aspilgrimages (Turner & Turner, 1978), according to its potentiality in terms of landscape perception through corporal activity (Ingold & Lee-Vergunst, 2008, eds.). Liminality is believed to be a concept useful to explore contemporary uses and perceptions of landscape (Hazel &Les, 2012, eds.) starting from its historical and geographical analysis. The paper investigates these aspects through a case study in CentralItaly in which a local mountain community has been invited by the author to share a walk along a historical pathway connected to animportant dismissed Christian pilgrimage route, the via Lauretana. During the walk, people tested a process of landscape perception basedon tangible elements of the landscape which are pathways and resting points permitting alternation of movement and observation. They arealso components of historical landscape structure of the area explored. Their importance lies in their possibility to be the starting points of a

process of spatial planning aiming at local resources conservation and management for the local community and they allow comparinghistorical analysis with the social perception of landscape.


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PANEL 3A

TONY WILLIAMS (Northumbria University) -- Iterations: days, walks, excursions, episodes, chapters, scenes

My daily dog walk clears a space for writing practice through its reiteration of routes, landscape and experience. The formal qualities of thewalk enable certain wrriterly activities to occur, but they also relate to and translate into certain formal qualities of the writing produced. Inthis paper I consider a number of iterations in relation to my own walking and writing practice. How far does daily writing practiceapproximate or differ from journal writing? How does the literal excursion of a circular walk compare with a literary excursus or digression? Inwhat ways do the formal qualities of the repeated yet discrete walk shed light on the short story, chapter, episode and scene, which build inseries to form the novel or sequence? I consider these questions in relation to a varied range of texts by Laurence Sterne, W G Sebald,Alice Munro, Jane Smiley, Dorothy Wordsworth, David Gaffney, Peter Hughes and Peter Riley, and in relation to my own disparate andchaotic writing life. In doing so I explore further how writing and reading occur both textually and extratextually as units bounded by acts,days and forms and as larger iterations of those units.

Secret Destinations and Surprising Arrivals in Walking:Two Perspectives

Martin Buber writes, All journeys have secret destinations of which the traveller is unaware. Our panel brings together three researchersfrom literature, visual art and education to offer perspectives on the moments of insight that transpire through acts of walking. In ourconsideration of walking as a form of mobile thinking, we draw on our work in three different cultural sites to explore how walking enhancesand facilitates unanticipated or chance forms of apprehension. We set out on our journeys on foot and encounter something unexpected

an intensified understanding of the previously un-thought known. Drawing on research examples from the academy, literature, pilgrimage,and walking the land with an Innu Elder in Labrador, we explore how nomadic apprehension is marked by an intensified temporalawareness, disorientation, feelings of loss or mourning, and an encounter with Otherness that is generous and constitutive of humanity ineffect.

JUDITH P. ROBERTSON (University of Ottowa) WALKING IN LITERARY PILGRIMAGE WITH ANNIE LIEBOWITZ AND VIRGINIAWOOLF

Judith P. Robertsons study of literary pilgrimage draws on concepts from Deconstruction and Psychoanalysis to demonstrate the presenceof uncertainty, fluid temporalities, and the therapy of distance in readersliterary journeys to the archive to meet and be with belovedauthors. After Derrida, she sees literary walking as a form of Archive Fever, in which a ritual of access to time, being touched by Otherness,and experiencing melancholic awe conjoin to inscribe reading and walking experience. Judith uses autobiographical narrative and literarycase study via Virginia Woolf and Annie Liebowitz to demonstrate how readers use literary pilgrimage as a site of subjective containment

and expansion, in which the excesses and eccentricities of time conjoin with mobility to augment moments of apprehension.

ELIZABETH YEOMAN (Memorial University) -- NUTSHIMIT: WALKING AS PROTEST AND EVERYDAY PARCTICE IN INNU LABRADOR

Elizabeth Yeoman has been working for several years with Innu elder and cultural and environmental activist, Elizabeth Penashue, ontranslating the diaries she has been keeping in Innu-aimun since the Innu protests against NATO low-level flying and weapons testing onInnu land in the 1980s. Her diaries (and related recordings and photographs) document memories of her own early life as a nomad and oralhistory of Innu life in the past as well as her growth as an activist. A key part of this activism is the annual weeks long walk on snowshoesthat she leads into nutshimit:a word that could be translated as the land, the bush, the country, the wilderness or simply home. Thispresentation explores, through sound, word and image, what it means to walk on the land in this context.

SHANE MCCORRISTINE (NUI Maynooth / Scott Polar Research Institute) -- Walking in the 19thCentury Arctic: Embodied and

Disembodied Knowledges

How did British explorers encounter the Arctic world in all its complexity, spatially? How were the prerogatives of nineteenth-century imperialdiscovery service interrelated with both immediate embodied practices and narrative descriptions of contemplation and reverie? In this paperI reflect on the reveries of the naval explorers William Edward Parry and George Lyon in order to discuss how the creative tensions betweenrepresentations and embodied subjective practices can thicken our understandings of Arctic exploration.

Embodied reveries were part of the multi-dimensional encounter with the (now Canadian) Arctic world and a means by which explorersmade sense of their environments and flirted with space.1Both Parry and Lyon published descriptions of personal, meaningful, walks in theofficial accounts of their Arctic expeditions (1821; 1825) and I argue their references to strolling, wandering, and rambling arounddiscovery ships in the Arctic can be understood as movements on paths to the unbounded where one may, as Wordsworth did, composeaccording to the feel of the passing earth and become the author of ones own solitude. I argue that reveries and dreaminess could, onoccasion, disturb dichotomous imperial/indigenous distinctions by acting as a pathway between the sentient explorer and the polyphonic

Arctic, an Arctic crucially made up by presences, absences, and co-presences.


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PANEL 3B

TOM CALVERT (University of the West of England) -- Examining everyday pedestrian experience with a phenomenologicalperspective: A discussion of methodology and findings.

Pedestrian experience may be considered extremely important by virtue of its extensivity: Most people will be a pedestrian at some point

during most days. It is also important in its potential to yield positive or negative affect in the walker. The pedestrian experience can be saidamongst other things to be a psychological phenomenon which is experienced through the subjective awareness of the pedestrian.Phenomenology is one of the primary approaches in which subjective awareness of experiences can be understood. Yet there has beenlittle work done on developing a phenomenology of everyday pedestrian experience. This presentation will look at the relevance ofphenomenology for investigating the pedestrian experience. Two forms of phenomenology, as delineated by Crotty (1996) will bediscussed, as will the ways in which these two forms informed the pursuit of a rich and incisive understanding of pedestrian experience.Illustrations from participants go along interview accounts and subsequent analysis will be given along with emergent data from depthinterviews. A specific focus, on which little work had been done previously, is on the pedestrian experience of motor traffic in cities. Onetheme emerging from data is that despite the danger and noise issuing from traffic, participants showed varying sensitivity to its presence:some were highly affected whilst others were able to disregard it. Another insight gained is that mitigating factors in participants minds seemto lessen the effects of traffic. The presentation will draw conclusions on the outputs which can be obtained from phenomenologicallyinfluenced study.

CLARISSA RODRIGUES GONZALEZ (Complutense University of Madrid) -- Androgynous walking: A new referent from a Brazilianartistic perspectiveAccording to Baudelaires concept of flneur, during the act of walking we are open to all possibilities and inspiration may blossom. ForJudith Butler goes for a walk without there being something that supports that walk. With or without purpose, androgynouswalking can be understood as a performative act beyond structural rigidity with a vital role in a constantly changing world that requiresflexibility and diversity, where ordinary people express themselves of gender. Rarely has the androgynous referentbeen considered from a Brazilian perspective when discussing the relationship between visual arts and social behaviour as an of image, landscape and observation. Walking is an extension of ourselves, a reflection of our time such as fashion: Does unisex fashionhomogenize our society across borders, erasing differences to the point of locked patterns even possibly expressed in walking? Doesandrogyny on the other hand propose liberty to transcend genders recognizing the full spectrum from andro to gyne and induce creativitythrough walking? As a documentation artist, this visual presentation is inspired by the Brazilian concrete poetry movement (1950s)combining photography, film and collage to demonstrate androgynous walking as an act along a continuum, where subjects amalgamatewith their environment (rural or urban; natural or human- made): Is it being changed and absorbed by us or are we being changed and

absorbed by it? Walking we make history, produce knowledge and move on.

BRIDGET SHERIDAN (University of Toulouse) Paths of Memory

I left Cornwall at the age of four. Thirty years later, I returned to England from France, my children being the same age as my brother andme when we left home. The experience was of the strangest: long lost memories reactivated by the process of walking in the landscape rosefrom the deepest and darkest depths of my memory. Thus, I decided to work on walking in landscape and its link with memory. The resultwas a series of photographs exploring the anachronistic side of childhood places. But I soon came to the conclusion that not only personalmemory can be reactivated by the process of walking, but also collective memory. After having worked on a series of photographs takenalong the Breton coast in August 2012, as I was walking the coastal path, and which question the ruins of WW2s Atlantic wall, my work isnow centered on Le chemin de la libert, a network of paths that circulate between France and Spain, and which were used during theSpanish Civil War and WW2 by people escaping Francos dictatorship or Hitlers Nazism. Each year a group leaves the French town of StGirons on a memorial walk, reactivating history. My art project is to walk the Chemin de la libert using the photographic medium combined

with writing to record my performance. The nature of photography itself seems to be perfect to reveal memory. Many French photographerswho have worked on walking seem to have revealed landscapes tendency to hold the secrets of our past. French philosopher, GeorgesDidi-Huberman, has questioned this in his essay Ecorces. The paths that meander along the surface of the earth in Thierry Girards, Jean-Luc Moulnes, or Jean-Loup Trassards photographs unveil our collective memory that nature has trapped in the soil, in the trees, in themountains, in landscape.

TIFFANY HAMBLEY (University of New South Wales) Recounting Shikoku

I travelled to Japan in early 2011 to embark upon a walking pilgrimage of 1200km, around the island of Shikoku. This walk is known inJapanese as the Henro Michi. It is a traditional pilgrimage which circumnavigates the smallest of Japan's four main islands. The pilgrimage isstructured by 88 Buddhist temples, which the walker visits. Unlike many Western pilgrimages, the walking circuit of the Henro Michi iscircular rather than linear. When the Great Tohoku Earthquake and Tsunami occurred just as I was to depart, I was uncertain whether to goahead with the walk. Ultimately, I made the decision to go. Shikoku was far from the physical location of the tsunami's devastationbut it

was still a very uncertain time for Japan. The advent of the earthquake changed the feeling and nature of my pilgrimage walk from theoutset. Before departure, I had sensed that the undertaking would change mebut I didn't know how. I had tried to 'train' for the walk, in thesense of becoming physically prepared, but I was struck, over and over again, by the idea that the only real way to prepare oneself to walk1200km is to walk the 1200km. In this sense, the pilgrimage, even before I had set upon it, had begun to echo life. There is no way to


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prepare ourselves for negotiating the fabric of the everyday; we simply plunge onwards. Because I wished to write about the pilgrimage, andto write whilst I was actively undertaking the pilgrimage, I found myself drawn to consider the issue of walking and creative practice. Howwould the art of writing interface with this physical action, this long and slow undertaking? Before I left Australia, I certainly worried a lotabout the practicalities of walking twenty, thirty, forty or more kilometres per day, and of maintaining a writing practice alongside this. But onthe walk itself, my concerns shifted somewhat: I came to wonder what walking such a long wayand attempting to describe that actmightreveal about writing as representation. I wondered repeatedly whether the act of walking in this way was itself resistant to representation.And if it were, what might that tell me about words and their relationship to reality? These are the themes and dilemmas of walking, writingand artistic practice to be explored in my paper.


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PANEL 4A

PAUL GOODFELLOW (University of Northumbria) -- System Walks: Sampling Colour

This paper deconstructs the authors process that attempts to meld systems thinking, walking and art. The paper is informed by research inSystems Art, Psychogeography and Land Art. The paper considers the methodologies employed by the artist to select sampled colourscollected from photographs during walks. With a systems and spatial analysis background the artist is interested in the role of randomnessand subjective decision-making in the construction of abstract representational models, such as colour field paintings.A systems approach has been applied to environment and place, to produce art from conceptual walks named System Walks. There hasbeen a renewed interest in the systems art, systems thinking and system aesthetics, and this can be traced back to three key events. Firstlythe exhibition Open Systems: Rethinking Art c. 1970, held in 2005 at Tate Modern, and secondly the Systems Art Symposium at theWhitechapel Gallery in 2007. Underpinning both these events is the English translation of Art as a Social System, by Niklas Luhmann in2000.The paper considers an urban walk in Berlin, Rosa-Luxemburg-Platz, and a rural walk in the Scottish Borders, The Three Brethren. Bothwalks have been repeated several times to produce colour field art. For each walk colour from the photographs have been sampled toproduce colour field works. In the first iteration the colours are selected randonmly using a computer algoritm and in the second iteration thecolours are chosen subjectively by hand. The repeated walks illustrate the temporal dimension of colour, and how a place is representedthrough colour over time. Whilst the random colour selection questions the representational role of the artist in these works.

DON GILL (University of Lethbridge) Erratic Space

Following architectural theorist Francesco Careri's ideas of the relationship of landscape to the development of architecture and particularlyhis concept of "Erratic Terrain", a Neolithic pre-nomadic space that is unmapped and empty, a space that is available for roaming andhunter/gatherer activity, I have developed a project titled Erratic Space. As a series of works based in a variety of locations, Erratic Spacetreats both Urban and non-urban space as Erratic. That is, unmapped and available for roaming. My preference is to site new iterations ofthe work in locations that I am unfamiliar with, particularly in a gallery or residency site that has a central location from which the work cancirculate around. To use a potential exhibition as an example, I establish the parameters of the display by setting up a work-station withvideo monitors, computers with printers and office supplies: tape, pushpins scissors, paper cutters, blank scrapbooks etc. I also establishcontext with some artifacts and work from previous iterations of Erratic Space. From this point I set out on daily walks using a GPS unit as adrawing implement to track the shapes of these walks. As there is no predetermined outcome for these walks the act of moving through thearea becomes an act of drawing through engagement with the discoveries of finding either natural routes or blockades to passage. Thesewalks end at the gallery space where I print the GPS drawings and photographs, download images and video into slideshows, read and clip

local and national newspapers, and similar activities. I construct wall maps of the experiences incorporating the materials that I gather on myexcursions.

INGE PANNEELS (University of Sunderland) -- Map-i

The Map-i project was established as a framework within which a series of projects could be developed as part of a long-term holisticinvestigation into notions of place and space. It engages with mapping in art and the map as metaphor specifically by looking at the notion ofspace from a human perspective; from the infinitesimally small to the sublime of Space as was so eloquently encapsulated in the Eames filmand a notion of wonder which also underpinned Mercators ambition for his Cosmographia. The ethos of Map-i is based on this premise ofinterconnectedness: how the observable universe can be broken down into infinitesimally small particles, applicable at both the micro andthe macro level, always of course observed from a human point of view. The human factor of space; that which can observed, walked,experienced, noted and calculated is referenced by the i in Map-i.

Mercator Revisited is the first project to be developed as part of Map-i and explores mapping in glass in the context of the 500th anniversaryof the eponymous cartographers birth. The investigation of Mercators work has allowed not only a reflection on the legacy of five hundredyears of cartography, but also on an incredible period of human endeavor; the choice of glass was an apt metaphor as a window on theworld.


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PANEL 4B

DR. SHIRLEY CHUBB (University of Chichester) Significant Walks

This proposal involves a visual presentation of the research underpinning the Significant Walksproject. Funded by the Wellcome Trust,Significant Walks explores the reality of walking for individuals with chronic lower back pain. The project pools the expertise of a researchteam that share a mutual interest in the resonance of walking as an interpretive tool and who came together following Shirley Chubbs sitespecific exhibition Thinking Path, which took Charles Darwins daily ritual of walking the same path in the grounds of his family home as itsinspiration.1

The collaborative research team (see biography) are working with a group of participants who are invited to identify a personal walk thatencapsulates memory, reminiscence and familiarity as well as being a measure of their physical experience.

The project will present an immersive digital artwork that synthesizes eye level video documentation of participants personal walks withsimultaneously gathered streams of kinematic data recording the movement of the spine. Researchers and participants work together toexplore how the interpretive qualities of visual effects can be applied to each body of synthesized footage in order to express the nature andresonance of personal movement whilst walking.

The resulting films will engage viewers in micro journeys that express individual experience through the interpretation of clinically accuratedata. Each journey acts as a vehicle for precise accounts of physical movement whilst also presenting the reflective individual at the core of

scientific understanding. In this way the work reflects Eisners theory that

Human knowledge is a constructed form of experience and, therefore, is a reflection of mind as well as of nature. Knowledge is made andnot simply discovered.

MICHELLE MANTSIO (Victorian College of the Arts) -- Consider Walking: Engaging hospitable environments for self-support(Walking Study Landscape1: Nida, Lithuania).

Historically the suggestion is that people were first introduced to landscapes in paintings and then saw landscapes in real life1. Since thisperceptual shift, landscape has been an ideological juncture. It generously supports how humans and their experience of their environmentmight meet with the more abstracted propositions of art such as line, space and depth.

Consider walking ------------------------------------------------------------as landscape

Walking is like the formal construction of a mark, the line. You begin as a point and then given your meander the line is constructed as ademarcation of your location in space. In art, as soon as you draw a line on a piece of paper, you have constructed space through elevationand depth, which is an incredibly succinct technique. These walking lines or landscapes generously offer sympathetic embodiments thatsupport a translation of human experience to the abstractions of space found in art. In doing so I am suggesting that they open up thepotential of how you might consider walking as an engagement or exploration of hospitable environments for self-support.

Consider walking ---------------------------------------------------------- for self support

There is a quality to walking where you may have a moment of identifying that you are in between. In between, what you have left behind,yet not quite at your destination. It is a palpable moment, a juncture in a line that in its recognition can create a sensation of hospitality,where space and time hold you. Do we often assimilate through our experience of landscape, the pleasure of this hospitality as an

embodiment of firstness? Could this sensation be furthered, as a form of self-sustaining and self-determining governmentality of health?Should it? Through the artwork; Walking Study Landscape 1 based in Nida, Lithuania, this paper will discuss how walking the landscapehas been explored. The conditional basis of the artwork explores the potential of art to enable a more robust and flexible experienceemploying walking the landscape as a malleable technique for self-support.

DR. ANNA JORNGARDEN (Stockholm University) -- The Mind of the Walker: Meditation and Madness

I only thought of walking, that the action of my muscles might harmonize with the action of my nerves; and walk I did, fast and far, theexcited protagonist comments on his state of mind in Charlotte Bronts The Professor. Ever since formulated by Rousseau, there exists astrong cultural association between walking and the workings of the mind. I can only meditate when I am walking, claimed Rousseau,inaugurating a view of walking as stimulating reflexivity and higher states of consciousness. In the same vein, walking is also linked to self-actualization and self-restoration. It has been promoted as the perfect tonic for a jaded mind (A. Wainwright) and has even been called the

walking cure, or psychotherapeutic walking (A. Wallace). On the other hand, the idea of walking as an essentially wholesome practice isunsettled by another association, which instead links walking to mental instability and even madness. Walking and thinking are intimatelyrelated, says the character Oehler in Thomas Bernhards novella Walking(1971), but in this text the Rousseauian belief has more sinisterimplications: the intense peripatetic meditations culminate in a mental and textual collapse. One of the most striking cultural examples ofwalking as madness is the epidemic of fugue allegedly observed by late-nineteenth century psychologists. The sufferer from fugue was a


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PANEL 5A

MARK JAMES || TIM OFFER -- Ambulation; Appraisal, Proposal, Approach.

Using the exhibitionAmbulation (Plymouth 2010) as a case study we wish to examine, appraise and propose how future exhibitions that dealwith this subject can actively engage a public through walking and situate a starting point.

Ambulationwas exhibition, series of events, films and new commissions by artists and architects who use walking as an artistic practice. It

featured commissioned tours exploring the city through its histories, and distinctive anomalies. The artists and architects were invited topose new work and offer their own take and position upon the ideas of walking as an artistic practice and on Plymouth. Included within theexhibition was The Itinerant Toolkit (I.T), a temporal archive centered on journeying as an artistic practice. Key questions raised byAmbulation were the need for quorum and the danger that the exhibition becomes one person deep. Secondly, how to develop a supportmechanism that allows us to remove ourselves from the prosaic gallery setting and the constraints that this imposes. Through using ElLissitzkys and Frederick Kiselers exhibition strategies where they blended the complexities of architectural space with narrative concerns,the paper will address key curatorial and design elements that allow walking practice to develop/start and finish from a temporal hub situatedoutside the white cube. The paper will also propose a new edition of I .T where setting up an embedded unit can engage and develop aongoing dialogue within a community, rather than a self referential exercise, thus developing a collective worth and sense of belonging.

STEPHEN HODGE || SIMON PERSIGHETTI || PHIL SMITH || CATHY TURNER (WRIGHTS & SITES) -- The Architect-Walker:

Manifesto and Manifestations

In 2005, Wrights & Sites producedA Manifesto for a New Walking Culture, which was first performed at the sixth Walk21 conference inZrich and has since been published in Performance Research and in Nicolas Whybrows anthology, Performance and the ContemporaryCity. In 2013, we are considering the ways in which that 'walking culture' contributes to, or might contribute to architecture. When does thewalker become an architect and conversely, when does architecture go on a walk? This contribution to the conference, a performativepaper in four parts, will draw on our own experiments with walking and architecture (e.g. mis-guided, BBI Festival, 2008; Everything youneed to build a town is here, Wonders of Weston, 2010;Ambulant Architectures, Sideways Itinerant Festival, 2012), as well as referencingthe convergence of walking and architecture by other artists, architects and walkers (such as Constructivist kiosks, Jan Gehl's Life BetweenBuildings, Ron Herron's Walking City). We will also draw on observations we have made when drifting.

ZOE ANDERSON A Guide to Walking

This paper questions the validity if the artists walk in terms of the 'purity' of walking. It asks the question, 'should artists walks, and walkingartists, be separated by a new set of terms?'

TIM BRENNAN -- STOP! DONT WALK! Saying Goodbye to Tom, Dick, and Henrietta

In this paper I will describe how the attitudinal basis of being an artist has underpinned my navigation of the built environment. I will outlinemy manipulation of the guided-walk form as discursive performance to highlight political fissures and rupture in places traveled through, andpaused at along the way over the last 25 years of my itinerant practice.Examples of my walking methodology (The Manoeuvre), formed in the mid 1990s will reveal that my walk-works have been seminal to whatis now a popular currency for contemporary artists. At the time of formulation my practice was consciously peripheral to the reconfiguredcommodity/celebrity focused market of the young British artist - through a solitary walk that acknowledged the journeys made (by a fewothers) through land art but brought older traditions of viewing the landskip, of the doing of history, our ethnographies, anthropologies andgeographies into the everyday.What was, then, for a long time a solo activity is now but one of many modes of walking enquiry and entertainment available to the artist. Artwalking is, in fact, the new venture capitalism of the contemporary visual arts, whether it be as primary performance, documented activity or

as a performative salve to commodity fetishism - problems of cultural capital that were actively confronted when I took small groups ondiscursive walks around St. George-in-the-East, Friern Barnet Pauper Lunatic Asylum or the British Museum some 15-20 years ago.An unraveling of the methodology will be ordered alongside anecdotes of descent, dissent and disorder from the 50 or so discreet walks Ihave made across the UK and further afield - it will embrace the live performance, guidebook and app whilst problematising the object andtrace anew to close this chapter of my oeuvre.


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PANEL 5B

AMY TODMAN (University of Glasgow) Walking the Five Sisters at Silbury Hill

West Lothians vast and contested shale bings, products of fracking introduced in the mid nineteenth-century, have recently beenrecognized, and walked, as sites of ecological value, as well as gaining a place within local folk-lore and art history. Reviled during the1970s as national eyesores, this period also saw their re-imagining by the artist John Latham, who imbued the heaps with a Goddessmythology. Lathams residency with the Scottish Office, using found surveys taken from the air, made a virtue of the bings notoriety, claimingthem as an immaculate monument/an inescapable doom. Despite this, they remain oddities in the landscape, often looked over, but rarelylooked out from.

I will walk Lathams five sisters range employing GIS way finding technology, and overlaying my journey with the visionary eyes and feet ofthe early-eighteenth century antiquarian William Stukeley, who pioneered walking as integral to his surveying practice. Indeed, it was hisextensive tours of Silbury hill in Wiltshire, and the theatrical scenography of his resulting imagery, that he believed had allowed hisreconstruction of the site as a great picture of an animal laid down by the druids. Lathams and Stukeleys emblematic visions are linkedthrough the survey of a landscape from a range of viewing platforms, and at differing scales. Re-creating Stukeleys tour, adapting andupdating his detailed surveys on the unfamiliar territory of the bings, is memorial to the possibilities of mobile viewing, connecting the recordof the past with its present in often unexpected ways. This contested site, formed of the spoils of industrial waste, is here granted the carefulattention Stukeley accorded to ancient landmarks. Considering the nature of information captured and noting changes to the site, its widertopographies, as well as memories, weather, chance meetings and customary use of the land, produces new visualisations; the moving

pictures of Sibury and the bings explored through the medium of the walk.

AMY JONES (Swansea University) -- Walking Wales: Experience, movement, and a sense of place on the Wales Coast Path

This paper focuses on the physical act of walking the recently completed Wales Coast Path (WCP), a continuous path along the wholeWelsh coastline. It investigates ways in which experiences of the WCP are understood, felt and sensed through the bodily actions andperformances of walking. The material dimension of the WCP is fundamental to this study as it impacts on the experiences of the differentpeople who walk along this costal space. Likewise, how people engage with the materiality of the path is significant to their experiences.This draws attention to issues of affordances; that is, the quality of the environment which enables people to perform an action such aswalking, and how this coastal environment affords the body a variety of actions and sensations.The paper will focus on mobility and the movement of people along the WCP, particularly on the fact that it enables movement along theentire coastal perimeter of Wales. It will concentrate principally on how being able to walk the coast of Wales may facilitate senses of cultural

attachment and belonging to the land; to others who walk the WCP; and to Welsh identity. Cultural attachment can also involve issues oflanguage; hence an additional focus on how physically walking the WCP may connect people to the Welsh language. This is a uniqueopportunity to explore a region like no other, Wales being the only nation with a continuous path along its coastline.

CHARLOTTE JONES (Loughborough University) Sensory Score as Research Tool

Walking the canal tow-paths of Staffordshire, how can the sounds, textures, sights and smells encountered, be captured in visual form?What happens when Klees Twittering birds meet Messiaens Petites Esqisses doiseaux?

This paper is concerned with the translation of the sensorial experience of a walk to visual representation in the form of a sensory score orsensory collage. The paper explores the sensory score as a valid research tool, a methodology or method of analysis fit to examine theurban/rural landscape.

The paper examines methods used by the World Soundscape Project to represent a soundscape alongside the graphic/visual signs usedwithin graphic scores such as those collated by John Cage in his Publication Notations. Existing methods of graphic notation are examinedincluding acoustic, phonetic and musical notations.The argument is that it is possible to build on the above to develop a multi-sensory representation more akin to the experience encounteredwhen walking. Central to the proposal of the sensory score is the relationship between musical concepts and visual elements e.g. pitch toline, dynamics to perspective.Can sound be effectively translated using graphic signs to visual form? Further more, can textures be effectively translated using frottageand imprint to visual form?The paper considers current scholarship regarding the experience of walking, and addresses problems associated with the displacement ofsensory experience from location and the transferability of graphic representations, in an attempt to propose a visual translation process

RUBY WALLIS (National College of Art and Design, Dublin) --Autowalks - is it possible to define 'place' through artistic practice?

This paper explores a series of experimental and philosophical attempts to represent place through walking and the use of film and


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photography. The methodology is a practice calledAutowalks.This is underpinned by an auto-ethnographic researching style; themethodology explores space and place and partakes in a mood of meta-discourse. I have attempted to subvert an authoritativeautobiographical voice by the collection of multiple experiences. Drawing on the writings of Judith Butler, Merleau-Ponty, Roberta Mock andCatherine Russell this paper will focus on one part of a larger project on an alternative community in the West of Ireland. This is awalking/oral practice in which I invite members of a community to explore the geographical space and speak about their personal experienceof it.This approach seeks to gather non-narrative pieces of video as experimental research to reflect on the way individuals experience thesite. The methodology allows for introspective dialogue to be recorded. The rural nature of the site allows a certain amount of solitude. Aperson can easily walk through the space and talk to the camera without encountering another being.

My aim is to find an embodied and experiential way of defining place, which moves beyond language and objective documentary practice toconnect with place in a sensory way through random movement. Questioning whether it is possible to represent a place without it becominga fixed view; the evasion and determination of a definition of 'place' becomes apparent throughout this paper. During the twenty minutessome of the short films and photographic stills will be shown demonstrate the practice of Autowalks.


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PANEL 6A

PROFESSOR BRUCE BAUGH (Thompson Rivers University) -- Retracing and remembering: in the steps of Andr Breton and NadjaCan past memory traces be reanimated by retracing someone elses steps? In 2008, I went to Paris to retrace the steps of Breton and Nadjaas recounted in Bretons 1928 memoir, Najda. By following their footsteps, could I lose my present in their past, remember what theyperceived, and so return to their past to haunt it? Retracing their lost steps investigates the relation of perception and memory, especiallythe relationship between material cultural markers (places, buildings, street names) and the memories called up through their associationwith a cultural narrative: not Nadja, but the history of Surrealisms intimate connection with walking in Paris. I use works on remembering asthe reactivation of material traces from hermeneutic theory (Droysen, Dilthey); R. G. Collingwoods The Idea of Historyon re-enacting thepast; Kierkegaard and Heideggers theory of repetition or summoning back the past as a present possibility; Freud on memory and neuralpathways; as well as Michel de Certeaus reflections on place, narrative and memory in The Practice of Everyday Life. The double-haunting of the present by past traces and of the past by present experiences are thought with the help Jacques Derridas work on tracesand haunting and Karen Tills thesis that individuals may come into contact with past lives through objects, natures, and remnants thathaunt the contemporary landscape and reanimate them. The presentation will be accompanied by PowerPoint slides documenting my Pariswalks and providing the context for Breton and the philosophical approaches used.

ASLI OZGEN-TUNCER (University of Amsterdam) -- Cinematic Pedestrianism, or the Emergence of Cinematic Movement.Cinema not only puts movement in the image, it also puts movement in the mind.One naturally goes from philosophy to cinema, but also from cinema to philosophy.

--- Gilles Deleuze.The human figure walking is the subject matter of the earliest cinematographic images, e.g. those of Muybridge and Marey. These imagesare not only aesthetic registers of a widespread scientific fascination with the phenomenon of movement that marked the late 19 thand early20thcenturies. They also served as technological tools for understanding the universe, perceived as a machine of a myriad moving parts,through the newfound photographic medium. In this context, movement, defined along the inseparable axes of body, space and time, wasconsidered to be best observed in the basic act of walking. This paper focuses on such a philosophy and its social, political, and aestheticconsequences, which further shaped or accompanied the history of cinema up to present. In my presentation, I will concentrate on howscientific fascination with movement in the 19 thcentury translated into a cinematic aesthetics of movement (for example, cinematic tropes offlnerie, porous framing of the pedestrian, fluidity of the shot, urban aesthetics of rhythm). In this newfound aesthetics, a mobile body movingin and out of the frame usually transforms the spatial, temporal, and political organization of the frame. With this transformation taking placeon the level of aesthetics, the aesthetical layer itself becomes a political statement. From this perspective, it could be argued that the imageof walking emerged and unfolded in cinema (for example in extended wanderings so characteristic of Italian Neorealism, and FrenchNouvelle Vague) as an epitome of a philosophy and politics of movement. In my presentation, I aim to discuss this philosophy of movement

via selected scenes from Rene Clairs Paris Qui Dort(1925) and to open up the floor for a more general discussion about the notion ofcinematic pedestrianism as well as its political implications, which is the focus of my doctoral research.

ERNIE KROEGER (Thompson Rivers University) -- On Walking and Photography: Henri Cartier-Bresson and Garry WinograndWalking and photography became associated as early as the 1850s through the figure of the flneur. Victor Fournel wrote: This man is aroving daguerreotype that preserves the least traces... His idea of a strolling photographer recording images is a fanciful interpretation ofwhat photography was actually capable of at the time. It was also prescient, as the invention of detective cameras in the 1880s, and 35mmhand-held cameras such as the Leica in the 1920s, would make this type of photography possible. My intent is to link walking andphotography but I want to free the photographers I discuss from the type-casting of the flneur. Most street photographers have been tooeasily associated with this character which not only stereotypes them but also limits interpretation of their work. Though there are manygreat street photographers, I will limit my discussion to two: the Frenchman, Henri Cartier-Bresson, and the American, Garry Winogrand,working respectively in Europe and the United States; the Old World and the New World. My further intention is to look at the images of

the two renowned photographers to see if there is evidence of more than the roving eye. I will look for clues of their physical involvementwith the world they move through and photograph. Finally, I believe these photographers are more akin to athletes than idle strollers.

PHILIPPE GUILLAUME-- Walking, Photography and Thirdspacealong Boulevard Saint-Laurent

Boulevard Saint-Laurent is a central artery that cuts across the island of Montreal, charged with generations of cultural, social andgeographical ramification. During two years (2010-2012), I repeatedly walked and photographed the entire 23 kilometers of this street for thecreation of an interdisciplinary artwork. Since the 1960s, boulevard Saint-Laurent has been the nexus of distinctive creative urban projectsembedded in walking; these works produced photographs and data that reveal different approaches and interpretations for this place thatinvolve formal and conceptual methodologies. Walking and photography each contribute distinctive experiences with urban space. Whenjoined by creative strategies, these two mediums result in yet another distinctive understanding and representation of the city. This paper willexamine boulevard Saint-Laurent as ambulated place, and how combining walking and photography translates into heuristic space. I will

show how direct experience and different photographic works including my own project, provide the framework to a codified experience tothis urban corridor. Edward Soja discusses Thirdspace as a means of engaging spatial analysis beyond the binary of real and imaginedplaces; his approach comprehends both the material and mental dimensions of spatiality but [] also moves beyond them to new anddifferent modes of spatial thinking. I will argue for the agency of photographic projects marked by the ontological presence of walking; the


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function of the unmediated part of the walking/photography framework in stimulating new conceptualizations of this urban corridor will be thefocus of critical examination.


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PANEL 6B

BARBARA LOUNDER (Nova Scotia College of Art and Design) -- The Longest (Ongoing) Walk: Walking as Protest and

Commemoration

In 1978, Anishinabe leader Dennis Banks and other members of AIM (the American Indian Movement) started The Longest Walk, a spiritualand political trek from Alcatraz Island in California to Washington DC. It built on the 1968 Trail of Broken Treatiescaravan, focusing

attention on the plight of Native Americans. Like earlier walks and marches of Gandhi and Martin Luther King, it was an act ofcivildisobedience that captured attention around the world. In the Fall of 2012 members of First Nations communities in Canada started asocial-media based campaign called Idle No More. The groups initial intent was to protest cuts to federal programs for native Canadians,but it quickly became a vehicle for more far-reaching demands, as well as a visible celebration of native culture. Inspired by this, a group ofyoung Cree from northern Quebec set out on a 1500 km spiritual and political quest, the Journey of Nishiyuu. They and thousands ofsupporters are to arrive on Parliament Hill in Ottawa within days of this proposal deadline. Also in 2012, Mtis artist Christi Belcourt starteda Facebook group called Walking With Our Sisters to launch a commemorative art project dedicated to the over 600 indigenous womenmissing or murdered in Canada in recent decades. The project now has hundreds of contributors around the world, and the first exhibitionwill open later in 2013. How and why is the long walk still a chosen form of protest and commemoration? What forms do such actions taketoday?

JAMES LAYTON (University of Chester) -- Communitas, Ritual, and Transformation in Robert Wilsons Walking.

Robert Wilsons Walking, a site specific, participatory walk along the North Norfolk coast offers the possibility of transformation and whatBergson would have described as pure, unadulterated inner continuity (1946:14). Having surrendered their time, participants are guided byangels dressed in yellow ponchos on a slow, meditative walk through a landscape punctuated by installations and soundscapes toexperience the passage of time without precise markers.Despite its simplicity, Walking has the elements of a transformative experience through its rudiments of ritual. In Richard SchechnersEfficacy / Entertainment braid he identifies some of the components of ritual as containing: symbolic time, audience participation and belief,collective creativity, and results. Victor Turner suggests that ritual is a transformative performance revealing major classifications,categories, and contradictions of cultural processes (Turner 1988:157). Walking does indeed offer a contradiction to the everyday processof walking; using an extremely slowed down practice of activity usually associated with getting from A to B to get C done.Approaching Walking from an autoethnographic perspective, I examine how transformation occurs whilst drawing on theories oftemporality from Bergson, and observations of ritual experience and theory from Turner and others. I will also explore how Walking becamea liminoid encounter that offered the possibility of transformation through spontaneous communitas, despite the participants being in asolitary, meditative state. Through the experience of communitas in Walking, the cultural framework within which normal ways of measuringtime are typically adhered to, become dismantled and allow for transformation to occur.

DR. MORGAN BEEBY A walk across a continent: meditations on time and ritual; space and pilgrimage

In 2007 I spent 121 days walking from Mexico to Canada. Following a predefined route with no decisions on which path to take opened uptime and space in which to dwell. Rituals, both voluntary and involuntary, formed the fabric of this new existence hitherto unknown tome outside of everyday life. In a journey whose event horizon preceded its completion, life became cyclic, meeting back at the same pointeach morning. Yet these rituals were sporadically interrupted by brief re-exposures to civilization, a reminder of progress outside ritual,toward the destination. With the narrative of this journey as background, I will describe the relationships between ritual and time thatemerged, and the corresponding relationships of pilgrimage and space.

AILSA GRIEVE (University of Western Australia) -- Walking as Ceremony

This paper will present the workings to date of PhD project A Contemporary Pilgriamage: Mapping Long Distance Cultura l Landscapesthrough the Lenses of Walking and Ceremony. The project subject site is principally an Australian Indigenous dreaming track extendingapproximately 3000k non-linearly through the local and trans-local landscapes of coastal-edge to desert-interior Western Australia. Theproject considers all matter of distancesand their potential ceremonial anecdote the distance between the ancient Aboriginal past ofmythic-landscape to the more recent colonial past of landscape conquest; the distance the path covers, and the places it connects en-route;the cross-cultural collaborative distance between contemporary Australian Aboriginals, and non-Aboriginal Australians; and the distancebetween qualitative and quantitative research.


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PANEL 7

ANDREW TOLAND(UNIVERSITY OF HONG KONG) -- WALKING LANDSCAPE URBANISM

In April and May 2011 I walked 1200 kilometres around the island of Shikoku in Japan. I was following the ancient Buddhist pilgrimage routeknown as the Henro Michi. When I told them, most people visualised an extended stroll around a giant Zen garden, or a scroll paintingcome to life. The reality was much more brutal. Most of it was by the side of a highway though the endless, sprawling wasteland ofJapanese exurbia.

This paper considers walking as a medium for developing and deepening Landscape Urbanism as a theoretical position within contemporaryLandscape and Architectural theory, using this experience of Japans contemporary landscape as a starting point.

To date, the theory of Landscape Urbanism has relied on two increasingly important techniques of representation within the builtenvironment disciplines: satellite/aerial photography, and the field diagram. These techniques are fundamentally distancingand totalising,placing the subject and the object into an abstract relationship. They are part of the continuing legacy of modernist theory andrepresentation in the landscape and architectural disciplines.

Walking as a medium of experience does the opposite. It embeds the subject in the urban environment, and allows for an importantcorrective to the distancing tendencies of other modes of experience through representation. This paper examines the implications of

walking and representation for our current understanding of both landscape and urbanisation within the landscape and architecturaldisciplines.

DARREN CARLAW -- 21stCentury Flneur? Reinterpreting the literary urban wanderer for the new millennium.

The intention of this paper is to critically interrogate the political, cultural and ethnographic ramifications of the urban walking narrative as itdevelops and mutates across the arc of almost two centuries. Before turning to examine contemporary poetry and prose, I begin by piecingtogether a brief photo-fit of the nineteenth century Parisian flneur. In doing so, I acknowledge the existence of devices resembling literaryflnerie found in the coney-catching and Theophrastian character books of sixteenth century London, but argue that the origins of walking asan identifiable and pervasive creative/artistic force lie in Baudelaires Paris. I demonstrate how the flneur was in essence a product ofbourgeois urbanism a manner of celebrating the magnificence of the city. From the era of high flnerie to the present day, I then examinehow the literary device of the urban walker has been reappropriated by the citys excluded others as a bohemian/artistic means of exposing

tension within the multicultural, multiracial twenty and twenty-first century metropolis. Using New York City as an example, I critically analysewalking narratives in the work of James Baldwin, David Wojanrowicz and Sarah Schulman as a means of revealing how a specialist literarystreet-level reading of the city serves to expose de facto racial segregation, the vulnerability of the poor, and the threat of gentrification to alesbian community, respectively. I conclude by discussing how the flneur device continues to mutate by drawing upon of the momentwalking narratives received by StepAway Magazine, a literary journal of which I am editor.

RUDI VAN ETTEGER (Wagenigen University) -- Wish you were here, Walking with me

This paper is on walking as a phenomenological tool for the aesthetic appraisal of designed landscapes. Vitruvius stated three goals forarchitecture firmness functionality and beauty. If landscape architects state that designed landscapes are to be experienced as aestheticallyappealing, then a way should be found to find out whether this goal has been achieved. One way would be to ask people in the landscape toappraise the landscape they are in. However a critical misunderstanding might occur. The confusion over whether landscape is something to

be overseen in one gaze, as opposed to something that unfolds, like in a walk, can taint reports on the quality of a landscape.

To avoid this misunderstanding and to test a different method for appraisal I have chosen to do a series of walks in the designed landscapeof the Island of Walcheren in order to evaluate it aesthetically. I have chosen for a radical first person phenomenological approach.

The paper describes methodological considerations and some of the advantages of a walk and its description over positivistic GIS-basedmethods, some of the experiences on the walk, as well as conclusions on the usefulness of walking for aesthetical appraisal. I will try toconvey the sense of Wish you were here that I experienced on this walk. The talk is illustrated with a selection of the photographic imagestaken during the walk.

CHRISTOPHER COLLIER (University of Essex)-- The Contemporary Drive Recombination and Recomposition

The drive, as a specific method of politically and aesthetically engaged walking, was defined and developed by the mid !20th century

Letterist International, yet has continued to exert influence over later aesthetico!political activities. Enjoying a resurgence in the 1990s, it has

seen further renewal within contemporary practices. However, these later iterations reflect a number of critical problems back upon thehistorical tradition.With reference to the work of a number of autonomist thinkers, I propose that recent artistic iterations of the drive, often fail to account for


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the convergence of their playful, participatory fluidity with the recombinant modes of subject construction that characterise neoliberalbiopower. Likewise the artistic drive, despite often being conceived as an emancipatory practice, holds a number of blindspots with regardsits own implication in processes of enclosure and circulation, along with valorization and social reproduction. These need to be taken intoaccount before such assumptions to emancipatory consequence can be vindicated. To what degree can artistic uses of drive be seen asboth a normalisation and valorization of precarity? Conversely how has the tactic of drive been utilised towards a critique of suchprecarization?Having examined the above proposition with reference to a number of practices, I ask if, as Claire Bishop has proposed, arts

spectacle!

participation binary has been collapsed under the paradigm of networked connectivity, must one reappraisal contemporary driveas socially!engaged artistic or political practice, and how does this inform our considerations upon the drive as a historical tradition of

aesthetically and politically engaged walking.


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PANEL 8A

AILEEN HARVEY Walking, Art, and Non-Pictorial Representations of Landscape

The talk focuses on non-pictorial artistic strategies, in particular within art practices that make significant use of walking. I argue that certainapproaches to art-making are well suited to representing the experience of landscape and that these approaches are not simply descriptive,or are not descriptive at all. Further, such methods are a natural fit with walking which undoes the static singular viewpoint on a landscape

and emphasises the embodied and temporal aspects of perceiving. I begin with some non-visual aspects of drawing and painting. IreneKopelman, Roni Horn and Donald Urquhart offer reference points: for drawing as expressive of the circumstances of making, and of aprocess of careful attention that can re-trace a person's physical and emotional presence, at a time, within a landscape. Drawing onphenomenological analyses of the experience of sculpture (cf Alex Potts), I look at works by Gabriel Orozco and Francis Als as sculpturalmemorialisations of a walk, via indexical marking or physical coding of narrative. This leads on to poetics (cf Elizabeth Helsinger on literarylandscape; text works by Richard Long), and then back to the imprint especially the use of material abstraction (for example, Helen Mirra'swork) and related methods that inherit structures, hierarchies or causal relationships from the material landscape.These approachessuggest a move beyond thinking of art as visual image the correlate of not conceptualising the human subject as an eye and a broaderconsideration of how an artwork engages with place, individual experience, and abstract ideas.

KRIS DARBY (University of Exeter) Cant We Stay Here?: A Lone Twin Non-Trip

In the last decade we have witnessed the emergence of a significant number of walking-based performances. Within this, there has also

been a wave of such performances that transgress beyond the material properties of site itself, displacing the walker from the site walked.Such works, existing either as a studio production, performative paper or a provocative/instructional publication, concern a walk that cannotbe grasped in the instant, existing as it does elsewhere in time and space. In this paper I wish to demonstrate how such pedestrianperformances can challenge current paradigms of site-based work by highlighting the merits of getting a distance (Heddon, 2003) from thesite performed. In illustrating this, I apply Robert Smithsons concept of the non-site (1968:111) to Lone Twins WALK WITH ME, WALKWITH ME, WILL SOMEBODY PLEASE WALK WITH ME (2002-2006). In this performance as lecture (Laing, 2011:156), Gregg Whelanand Gary Winters present a journey of their journeys, flirting with the thresholds between inside and outside, non-site and site. I assert herethat whilst deferring attention to walks they have undertaken previously, Lone Twin rearrange and edit these respective experiences into aconceptual journey or non-trip (Smithson, 1996:364) for their audience to follow.

DR. JO VERGUNST (University of Aberdeen) -- Watercolours and walking art: treading the politics of landscape with HamishFulton

This paper takes its lead from comments made by artist Hamish Fulton. Fulton says that although he appreciates that people enjoy paintingwatercolour scenes, he does not wish to make such pictures. And similarly although he appreciates that people enjoy going on walksorganised by the Ramblers Association, he does not wish to walk in that way. I want to follow the links between walking and art using myethnographic fieldwork in north east Scotland. Drawing on different kinds of art practice there, I will explore the contrast implied by Fultonbetween scenic landscape painting and alternative forms of environmental art. Where the former seemingly tries to make a representation ofreality, the latter can suggest a more direct relation of making present. What kind of relations with the landscape are then implied bydifferent kinds of walking? And specifically, what might Fultons problem be with how the Ramblers Association walk? We could distinguishthe structured and somewhat hierarchical trips of such clubs from more improvised walking. Fultons art also makes reference to TibetanBuddhist ambulatory practices and invokes the politics of landscape as well as spirituality. In Scotland, radical outdoor access reforms arere-shaping the ways that walking can happen. Where watercolour painting usually entails a distanced view onto a landscape, other art formsneed closer and more multi-sensory access. The papers ends by asking how governance of the landscape could enable different kinds ofwalking and other practices perhaps more imaginative ones to take place.

DR MARK RILEY (University of Roehampton) -- Pathmarking: Walking the Heidegger Rundwegat Todtnauberg, 2010-12

This paper proposes the idea of walking as an event of sense making specifically in relation to distinguishing between ideas of landscapeand terrain. It will focus on a specific locale - the hut belonging to philosopher Martin Heidegger (1889-1976) and the path marked out thatcircumnavigates the landscape in which it is situated. Heideggers connection with a specific locale in the Black Forest south of Freiburg;Todtnauberg, and a particular building; the wooden hut built for him in the 1920s, is well documented. As a place, it reflected and articulatedHeideggers concerns with rootedness, homeland and the thinking of Being. For Heidegger the relationship between thinking and thephysical experience of a locale were intrinsic to the process of making sense. His analogy of walking a forest path proposed that exploringby walkingallows the territory traversed to be the guideto both exploration and thought. This paper will focus on field notes made whileundertaking a number of walks over a period from 2010 until 2012 of the Heidegger Rundweg; a designated route that traverses theperimeter of the valley where the cabin is still situated. It will describe the experience of walking the Rundwegand also reflect on widerhistorical issues surrounding the locale of Todtnauberg in relation to Heideggers residency there. These notes will be supplemented withcontextual historical material that addresses landscape in relation to the event of walking and make a distinction between landscape andterrain as an event of ordinary affect that not only maps connections and routes but also identifies and explores its dis-junctures.


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PANEL 8B

CLAIRE QUALMANN (University of East London) -- walkwalkwalk: Stories from the Bethnal Green Archive

walkwalkwalk: stories from the Bethnal Green archive1is a series of text works created from anecdotes and encounters around a walk routethat passes through Bethnal Green, Whitechapel and Shoreditch in the East End of London. Generated as part of the ongoing projectwalkwalkwalk: an archaeology of the familiar and forgotten2. This paper will present the collection, production and dissemination of these

stories in a range of formats over the last 8 years, including fly posting3

, leafleting, performance and permanent installation in the form ofengraved signs within the Old Bethnal Green Town Hall 4(converted to a luxury hotel in 2009/10). The texts give voice to that which isusually overlooked, and the way in which they operate varies greatly in the different forms and contexts in which we have used them. Forexample within the Old Town Hall they seek to present a view of the area which may be marginalised as it regenerates, speaking of a worldbeyond the hotel of fragile freedoms and serendipitous encounters. Embedding these tales of the everyday and overlooked into the fabric ofthe building seeks to celebrate these characters and their lives, commencing a new process of myth making to accompany the Blind Beggarinto the future imagination of Bethnal Green. In contrast the flyposting of the stories into the route from which they were collected imaginespossible encounters, moments of recognition and identification in spaces normally reserved for advertising messages or mundane publicinformation.

IDIT NATHAN (Central St. Martins College of Art and Design)-- Sites and Sights at the Throw of a Die - Making Sense of a ContestedTerrain Through Walking and Playing.www.iditnathan.org.uk

Idit Nathans work originates from theatre and is often playful and interactive. A recent example of a playful walk was commissioned by PVAfor its Audio Lab - Language of Place is Mashi&Spielen (which means Walk and Play in Arabic and German respectively) where cards, diceand a timer were used on a silent walk to Rampisham Downs (previously home of the BBC world service transmitters), inviting participantsto draw out cards with facts and anecdotes relating to the transmitters site with its imagined links to communications, play and wars over theages. Her Seven Walks in a Holy Cityproject, took place in 2011, is documented in '7 walks in 28 minutes' film and will be part offorthcoming Contested Sites/Sightsexhibition at International New Media Gallery (due December 2013). She is currently PhD candidate atCentral St Martin's College of Art and Design. Her practice led research, which examines embodied, interactive and playful artworks thatreflect on aspects of the Israel Palestine conflict is titled Art of Play in Zones of Conf lict - The Case of Israel Palestine. She also blogs aboutplay and its links with conflict at http://playandconflict.wordpress.com

SARA WOOKEY -- (A) (No)Body Walks in L.A. : Prompting Social and Perceptive Experiences in Los(t) Angeles

Often referred to as a city where nobody walks, Los Angeless urban sprawl is often disorienting for the visitor as well as for the long-termresident. Therefore navigating a city so vast and confusing on foot becomes an absurd act. The gesture of walking in Los Angeles is the

catalyst for the performance and media-based work that artist Sara Wookey has created with the city and the premise of her presentation.Her projects are examples of her interest in amplifying the role of the body as a spatial and sensory tool for navigation while promptingsocial, perceptive and playful behavior in a city where people are often hesitant to walk and to be in public space together. She will share herprojects including BEING PEDESTRIAN, an alternative tourism campaign, excerpts from her article, "Walking LA : From Documentation toPerformance " published in the International Journal of Art & Technology (V2 N3 2009) and her work with the Los Angeles MetropolitanTransportation Authority's (Metro)

on walking schedule

Documents