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CONFERENCE PROGRAMME

DAY 1 (Friday, 28th June 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 COLLIER DIANE SMITH – ‘The Walking Institute’ ANDREA TOTH & JUDY THOMAS – ‘Heaven’s Above’ MORAG ROSE – ‘Loitering with Intent to Make Manchester Wonderful’ MARIE-ANN LERJEN – ‘Conceptual Walks with Groups’ Panel 1b (Prospect 009) CHAIR: CAROL MCKAY TOM SYKES – ‘The Architectural Site as Muse: Georges Perec and Walking into Topophilia’ PASCAL GIN – ‘Walking the Contemporary Landscape: Pedestrian Tactics in Jean Rolin’s Literary Journalism’ ROSALINDA 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 BOTHA RUTH BURGON – ‘Haunted Footsteps: The Sound-Walk and the Doubled Subject’ ANN MATTHEWS – ‘Self-Imposed Control: Walking and Documenting the Multiple City’ MARIE-ANN LERJEN – ‘Highlighting a Cityline’ CHIARA 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, Scenes’ SHANE McCORRISTINE – ‘Walking in the 19th-Century Arctic: Embodied and Disembodied Knowledges’ JUDITH P. ROBERTSON – ‘Walking in Literary Pilgrimage with Annie Liebowitz and Virginia Woolf’ ELIZABETH YEOMAN – ‘Nutshimit: Walking as Protest and Everyday Practice in Innu Labrador’ Panel 3b (MC 234) CHAIR: CLARE QUALMANN TOM CALVERT – ‘Examining Everyday Pedestrian Experience with a Phenomenological Perspective’ CLARISSA RODRIGUEZ GONZALEZ – ‘Androgynous Walking: a New Referent from a Brazilian Artistic Perspective’ BRIDGET SHERIDAN – ‘Paths of Memory’ TIFFANY HAMBLEY – ‘Recounting Shikoku’ 14.45-16.00 SESSION 4 Panel 4a (MC 234) CHAIR: MIKE COLLIER PAUL GOODFELLOW – ‘System Walks: Sampling Colour’ DON GILL – ‘Erratic Space’ INGE PANNEELS – ‘map-I’ Panel 4b (Prospect 009) CHAIR: MARC BOTHA SHIRLEY CHUBB – ‘Significant Walks’ MICHELLE MANTSIO – ‘Consider Walking: Engaging Hospitable Environments for Self-Support’ ANNA 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 BOTHA MARK JAMES & TIM OFFER – ‘Ambulation: Appraisal, Proposal, Approach’ WRIGHTS & SITES (HODGE, PERSEGHETTI, TURNER, SMITH) – ‘The Architect-Walker: Manifesto and Manifestations’ ZOE ANDERSON – ‘A Guide to Walking’ TIM BRENNAN – ‘STOP! DON’T WALK! Saying Goodbye to Tom, Dick, and Henrietta’

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Movement.00-21. MARK WILSON.30 Curators’ Tour and Artists’ Talks followed by Wine Reception. RACHAEL CLEWLOW. and a Sense of Place on the Wales Coastal Path’ CHARLOTTE JONES – ‘Sensory Score as Research Tool’ RUBY WALLIS – ‘Autowalks: Is it Possible to Define ‘Place’ Through Artistic Practice/?’ 19. BRIAN THOMPSON. and Poetry Reading by Alec Finlay at the ‘WALK ON’ exhibition. NGCA ATUL BHALLA . BRYNDIS SNAEBJORNSDOTTIR. Talk by Tom Chivers. MIKE COLLIER.Panel 5b (MC234) CHAIR: WALTER LEWIS AMY TODMAN – ‘Walking the Five Sisters at Silbury Hill’ AMY JONES – ‘Walking Wales: Experience. TIM BRENNAN TOM CHIVERS. ALEC FINLAY 3 .

Ritual. Upper Social Space) 13. and Non-Pictorial Representations of Landscape’ KRIS DARBY – ‘Can’t We Stay Here? A Lone Twin Non-Trip’ JO VERGUNST – ‘Watercolours and Walking Art: Treading the Politics of Landscape with Hamish Fulton’ MARK RILEY – ‘Pathmarking : Walking the Heidegger Rundweg at Todtnauberg’ Panel 8b (Prospect 007) CHAIR: MARC BOTHA CLARE QUALMANN – walkwalkwalk: Stories from the Bethnal Green Archive IDIT NATHAN – ‘Sites and Sights at the Throw of a Die – Making Sense of a Contested Terrain Through Walking and Playing’ SARA WOOKEY – ‘(A) (No)body Walks in L.30-14.A.00 Closing Roundtable and Farewells (Prospect 009) 17. Upper Social Space) IDIT NATHAN AND HELEN STRATFORD -.DAY 2 (Saturday.30 SESSION 7 Panel 7 (Prospect 009) CHAIR: CAROL MCKAY BRUCE BAUGH ‘Retracing and Remembering: In the Steps of André Breton and Nadja’ PHILIPPE GUILLAUME ‘Walking. space and pilgrimage’ AILSA GRIEVE – ‘Walking as Ceremony’ 10.30 KEYNOTE PRESENTATION (Prospect 009) TIM INGOLD – ‘The Maze and the Labyrinth: Walking and the Education of Attention’ 14.‘Walk & Play || Sunder & Land’ 12. Upper Social Space) 15.30 – 11. and Transformation in Robert Wilson’s Walking’ MORGAN BEEBY – ‘A walk across a continent: meditations on time and ritual.00-16. Upper Social Space) 11.00-12.: Prompting Social and Perceptive Experiences in Los(t) Angeles’ WALTER LEWIS – ‘Walking with Gablik’ 16.30 Lunch Break (Prospect. and Thirdspace along the Boulevard Saint-Laurent’ ERNIE KROEGER ‘On Walking and Photography: Henri Cartier-Bresson and Gary Winogrand’ ASLI OZGEN-TUNCER ‘Cinematic Pedestrianism: Flânerie. and Mobility’ WALK (Meet in Prospect. 29th June 2013) 9.30 SESSION 8 Panel 8a (Prospect 009) CHAIR: MIKE COLLIER AILEEN HARVEY – ‘Walking. Photography.00 Tea and Coffee Break (Prospect.00 Tea and Coffee Break (Prospect.30-17.00 -.30 SESSION 6 Panel 6a (Prospect 007) CHAIR: MIKE COLLIER ANDREW TOLAND – ‘Walking – Landscape – Urbanism’ DARREN CARLAW – ‘21st-Century Flâneur? Reinterpreting the Literary Urban Wanderer for the New Millenium’ RUDI VAN ETTEGER – ‘Wish You Were Here. Walking With Me’ CHRISTOPHER COLLIER – ‘The Contemporary Dérive: Recombination and Recomposition’ Panel 6b (Prospect 009) CHAIR: MARC BOTHA BARBARA LOUNDER – ‘The Longest (Ongoing) Walk: Walking as Protest and Commemoration’ JAMES LAYTON – ‘Communitas.30-13. Urban Aesthetics.00-10.30-15. Fluidity.Optional Visit to ‘The Resilience of the Wild’ Exhibition with artist Mike Collier at the Customs House Gallery 4 . Art.

PANEL DETAILS 5 .

our current programme and why we felt the need to create a coherent Institute focused on commissioning new work with the context of walking & art at the present time.PANEL 1A DIANE SMITH (Deveron Arts) || CLAUDIA ZEISKE (Deveron Arts) -. The Institute will be a year round centre of excellence within the walking and art discourse. Our combined experiences. Walking is a way to provoke dialogue and new ways of seeing the city. which is an important and integral step in the creative process. The collaboration is pushing us both to be more courageous and move out of our comfort zones. with the aim of becoming. etc. activism and personal experience and this paper will present fieldnotes from an ongoing experiment in remapping Manchester through our wanderings. Our walks have become a platform to share ideas and make new work. A conceptual walk with a group begins with an introduction to the experimental setting. With this working practice and experience. The value of this relationship is huge. (re)engaging with and (re)enchanting the city. celebrate the landscape. Therefore the Agency invites people to participate in “conceptual walks”. photography and film. to be able to have support and be supported gives great strength. the outline of the walked route could proceed from a shape that is placed at random on a city map. the background to this new project. thoughts and connections enhance greatly what might have been done individually. 6 . through visual representation. providing not only motivation but also a safe space to explore themes of memory.Heavens Above This paper explores a collaborative art practice of walking together.Loitering with Intent to Make Manchester Wonderful In 2006 I co-founded The LRM (Loiterers Resistance Movement) a Manchester based nterdisciplinary collective interested in psychogeography. MORAG ROSE -. space and spirituality. An important part of these walks with groups is a moment of reflection and exchange of experiences at the end of the walk. Our presentation will be focused on discussion and engagement. the aspiration of the programme is to spiral out geographically and to include satellite events and collaborations elsewhere. The Institute has two main aims: • Research & Mapping: research and map the philosophy of walking and links across art discourse primarily. we are hosting a series of Northumberland walks during National Park week (July 29 – August 4 2013). community. Inspired by The Situationist Internationale. ncover hidden histories and discover the extraordinary in the banal. the concept of the derive is the starting point for a range of unorthodox public tours. responding directly to the physical world. historical and anthropological which connects to the broadening networks and dialogues existing across the globe. ANDREA TOTH || JUDY THOMAS -. seasons. but also takes part in the experiment. bridging to an inner spiritual world. a multi-sensory and playful tactic for community engagement. and social engagement. To be an artist is a predominantly solitary activity. For The LRM Psychogeography is a kinaesthetic practice. The LRM embark on psychogeographical drifts to decode the palimpsest of the streets. It will bring walking activities together with arts and other cultural disciplines with people from all walks of life and engage them in a range of walking activities which are both accessible and creative. Our ongoing questioning dialogue along with walking with others opens up thoughts and possibilities at a greater and deeper level than if done individually.). making. I am interested in blurring the oundaries between academia. The guide leads the group along the chosen route. Walking in silence intensifies receptiveness to the features of the respective environment. we are in a research phase. Extending the social aspect of the project to a wider audience. merging experiencing. a separate and independent organisation called – The Walking Institute. by April 2014. while being inspired by weather. Deveron Arts has deepened its focus around the notions of walking and hospitality through developing research and action programmes. which will bring people together. the route is designed following or traversing strong lines in the city structure (etc. light and the landscape.The Walking Institute We would like to present the “Walking Institute” to the conference. presenting. Swizerland) -. and politics. consider the environment and value the world in which we live. Through a process of painting. They aim to nurture critical awareness of everyday space. Deveron Arts is setting up this new venture. Over the past 15 years. Alternatively. For example. The LRM's events are ephemeral but we have experimented with a range of ecording and analytical methods to capture their essence. Whilst core development will happen in Scotland. • Activities: identify and develop activities and new paths & trails by creating path networks – geographical. MARIE-ANN LERJEN (Agency for Walking Culture.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. which supplies the framework for the experience. The act of walking and getting into the landscape also gives us a chance to pause and reflect on our individual and collaborative work.

Indeed. methodologies and challenging existing ones.. From the fixity ‘fetish’ of atemporal places to the ‘abstraction’ of users walking the Tuscan road. Kerouac land-escapes to the forest after being On the Road and meeting G. pedestrian engagement with spatial forms and contexts yields an experience and cognition that reach beyond a rhetoric of visibility. the goal being a subjective rendition of Tuan’s topistic (Tuan. in the terminology of Roland Barthes’s Mythologies.The “Beat” of Walking: Wordsworth. but it happens in places. yet the process of designing is done almost entirely seated in offices and studios great distances from the sites of construction. endowing the process of design with the act of myth-making. to follow in his skip to appreciate rural life as inspiration. or leaf. Reaching beyond 18th century Tuscany to the literary landscaping of contemporary spaces. and walking. but also other artists. starting with the process of ‘enlacement’ (Wylie) that binds pedestrian motion. With a focus on peri-urban districts or stretches of industrial borderland.. ROSALINDA RUIZ SCARFUTO (University of Alcala) -. not walking. The discussion of this project is used as a vehicle for the development of another theoretical implication: the suggestion that these early recordings act. Whitman How the rhythm of a poet’s muse has its roots in skipping across the land. and offering a critical perspective for developing personal design. Walt Whitman found a “leaf” of grass as the alternative to a “blade” of grass changing our view of semantics (violent or non-violent) as he walked his native grasslands of Long Island. of the cypress-lined road. Georges Perec’s notational writing on Paris sets out a schema for a way walking. historical processes of social production. thus producing Dharma Bums. and representation on the move. in Lefebvre’s analysis. gathering on walks “Feather. Machado. The methodology is developed through the unpacking of Perec’s stylistic systems. 7 . possibly. the path travelled. Illustrated through the example of a large scale architectural project amidst Birmingham’s canals this case study is founded on the rewards of urban exploration and adventure in forming a lasting bond with place. As such.” that would serve to create collages of any kind. walks provide the writer with a range of experiential and figurative options. drinking coffee. like a stone across the water. He drew writers from afar. Snyder (inspired by Basho). or withered bough. New York. spatial representation in Rolin’s 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. spatial representations are fraught with the ideological trappings of self-evidence. and most importantly. as pure meaning. This paper seeks to forge the outline of a methodology for creating lasting renditions of place through intense perambulatory investigation. an iconography of the distinctively local easily paints over. watching that is suggestive of a site’s movement from a geometric space into a loaded and inspiring place. then. 1991) aspects of a specific geographical locale that inspires immersion in its atmosphere even when physically distant. uncovering hints of other ways of recording the site in more graphical and interactive forms. “Walk your talk” is how these poets commun-i-cated for the coming artists to be or. Lasting and meaningful architecture responds to and intervenes with its milieu. Beware.The Architectural Site as Muse: Georges Perec and Walking into Topophilia Architecture exists in space.PANEL 1B TOM SYKES -. DR. proposing walking in his boyhood Guadarrama mountains to become fit in body and mind. this practitioner of slow journalism routinely walks his readers through texts shaped by hyperlocal pedestrian narratives. Wordsworth wandered out to the Lake District.Walking the contemporary landscape: pedestrian tactics in Jean Rolin’s literary journalism ‘…and the cypress-lined road made its way into the landscape…’ As Henri Lefebvre notoriously pointed out. which this paper will undertake to assess. the site as a muse for the design process. PASCAL GIN (CARLETON UNIVERSITY) -. Unless. intellectual urban dwellers. or weed. From actual journeys to textual device. leaving (leafing) us his legacy to find the song of ourselves. this paper will investigate how the walk is integrated as a tactic of representation within the work of French literary journalist Jean Rolin. As ‘mobility becomes human agency’ – to echo Tim Creswell commenting on Michel de Certeau – the pragmatics of walking blurs the presence effect of scenery and draws attention to the many movements shaping a sense of place. Antonio Machado was opposed to the act of Greek gymnastics. one were to walk the road. Kerouac. making ripples in our natural/literary heritage Four poets’ act of walking transformed not only themselves.

a detachment from one’s own subjectivity and a questioning of lineage. histories that resonate with the psyche of the walker.000 images a “composition” was created. the plurality of the spaces that I walk. This will include artists who use the recorded voice as a means of conducting a guided walk (Janet Cardiff. For some. Ideologically. Simon Pope). I will discuss two methods. socially and culturally. Through their use of voice. The strip was animated in a way that the spatial and temporal progression of ambulation is inscribed in the film. who looks over her shoulder. doubled. The author considers Walking as a practice able to give spatial configuration to the liminal dimension characterizing religious rituals such as pilgrimages (Turner & Turner. pursued. CHIARA SERENELLI (University of Florence) -. 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 comparing historical analysis with the social perception of landscape. writing. was a historical waterline. eds. to mapping ideas. a city in the Swiss mountains. as opposed to a single taproot. is arguably a fracture. The paper investigates these aspects through a case study in Central Italy in which a local mountain community has been invited by the author to share a walk along a historical pathway connected to an important dismissed Christian pilgrimage route. or to haunt oneself.Self-imposed Controls: Walking and Documenting the multiple City In this paper. They are also components of historical landscape structure of the area explored.They apply this idea of multiple networks with multiple connections. I am interested not just in the psychogeographical trait of unearthing histories through the act of urban exploration on foot.’ (A Thousand Plateaus). turn such experiences into audio essays (Mark Fisher and Justin Barton) and those who use the live voice while moving through different urban environments (Tim Brennan. 1978). The aim was to make the actual urban landscape visible from a culturally important line as a divergent spatial structure. leading to different responses that culminate in a rich resource from which to create creative texts that reflect the multiple city. I will discuss the experience of walking in relation to the predetermined self-imposed controls I employ which influence how I move through the city. this is a confirmation of one’s place within history.’ (Sadie Plant The Most Radical Gesture ). panorama-like yet fragmented. To reflect this I vary my methods of walking. Guy Debord’s dérive and my adaption of Gilles Deleuze and Felix Guattari’s concept of the rhizome. [.Glis. 8 . In this image strip each picture is still visible. objects. Psychogeography is full of whispers. MARIE-ANN LERJEN (Agency for Walking Culture. practised and theorised as an aesthetic practice is through the reemergence of ‘psychogeography’. 2008.). a term taken from the Situationists but now re-imagined in a new guise. Maryclare Foá). During the walk. But to haunt.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. but also in the subject position conjured by such a practice.. ANN MATTHEWS (Northumbria University) -. According to Deleuze 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. 2012. These controls are methods which enable me to approach walking in different states of mind. Debord’s dérive is a type of oppositional walking with an explicit agenda to negate the dominant capitalist structure and ideology of the city by deliberately: ‘seek[ing] out reasons for movement other than those for which the environment was designed. according to its potentiality in terms of landscape perception through corporal activity (Ingold & LeeVergunst. picking up on the diversity and heterogeneous nature of the urban environment. those who record their own experiences while walking (Andra McCartney and Sandra Gabriele).Walking (along) liminal landscapes. and by doing so also trouble the subject position of the walker.) starting from its historical and geographical analysis. This paper will explore artists’ use of the sound walk or audio walk in relation to the concept of ‘haunting’. At the same time the form of the city through which the performer is moving is visible in the foreground and background. the via Lauretana.. The result is an observation rich in detail. Therefore the film was made using an innovative technique: a walking performer was photographed in tightly framed shots. echo and resonance artists who engage in sound walking not only trace histories. Out of over 1. Swizerland) – Highlighting a cityline (Pecha-Kucha Paper) The starting point for the project “Geleit” (escort) for a film festival in Brig.] bringing an inverted perspective to bear on the entirety of the spectacular world. people tested a process of landscape perception based on tangible elements of the landscape which are pathways and resting points permitting alternation of movement and observation. places and people. to be haunted by the past is a kind of continuity. eds. Walking as a device for constructing processes of social participation for contemporary landscape planning: a case study in Italy along historical pilgrims’ trails. I perceive and also experience the city as a multiple city: encountering the difference/s. and of being an other among many diverse others – a fragment of what defines that place physically. Liminality is believed to be a concept useful to explore contemporary uses and perceptions of landscape (Hazel & Les. but trouble them.

an Arctic crucially made up by presences. feelings of loss or mourning. absences. walks in the official accounts of their Arctic expeditions (1821. The formal qualities of the walk enable certain wrriterly activities to occur. “the wilderness” or simply “home”. and experiencing melancholic awe conjoin to inscribe reading and walking experience. Dorothy Wordsworth. but they also relate to and translate into certain formal qualities of the writing produced. Elizabeth Penashue. and co-presences. JUDITH P. which build in series to form the novel or sequence? I consider these questions in relation to a varied range of texts by Laurence Sterne. episode and scene. How far does daily writing practice approximate or differ from journal writing? How does the literal excursion of a circular walk compare with a literary excursus or digression? In what ways do the formal qualities of the repeated yet discrete walk shed light on the short story. and ‘rambling’ around discovery ships in the Arctic can be understood as movements on paths to the unbounded where one may. Drawing on research examples from the academy. and “the therapy of distance” in readers’literary journeys to the archive to meet and “be with” beloved authors. Robertson’s study of literary pilgrimage draws on concepts from Deconstruction and Psychoanalysis to demonstrate the presence of uncertainty. spatially? How were the prerogatives of nineteenth-century imperial discovery service interrelated with both immediate embodied practices and narrative descriptions of contemplation and reverie? In this paper I reflect on the reveries of the naval explorers William Edward Parry and George Lyon in order to discuss how the creative tensions between representations and embodied subjective practices can ‘thicken’ our understandings of Arctic exploration. through sound. I argue that reveries and dreaminess could.1 Both Parry and Lyon published descriptions of personal. she sees literary walking as a form of Archive Fever. After Derrida.” Our panel brings together three researchers from literature. word and image. compose according to the feel of the passing earth and become the author of one’s own solitude. walks. In our consideration of walking as a form of mobile thinking. in which the excesses and eccentricities of time conjoin with mobility to augment moments of apprehension. A key part of this activism is the annual weeks long walk on snowshoes that she leads into nutshimit: a word that could be translated as “the land”. disturb dichotomous imperial/indigenous distinctions by acting as a pathway between the sentient explorer and the ‘polyphonic’ Arctic. Judith uses autobiographical narrative and literary case study via Virginia Woolf and Annie Liebowitz to demonstrate how readers use literary pilgrimage as a site of subjective containment and expansion. fluid temporalities. excursions. literature. as Wordsworth did. in which a ritual of access to time.PANEL 3A TONY WILLIAMS (Northumbria University) -. SHANE MCCORRISTINE (NUI Maynooth / Scott Polar Research Institute) -. Peter Hughes and Peter Riley. David Gaffney. days and forms and as larger iterations of those units. visual art and education to offer perspectives on the moments of insight that transpire through acts of walking. ‘wandering’. being touched by Otherness. In doing so I explore further how writing and reading occur both textually and extratextually as units bounded by acts. Embodied reveries were part of the multi-dimensional encounter with the (now Canadian) Arctic world and a means by which explorers made sense of their environments and “flirted with space”.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. Secret Destinations and Surprising Arrivals in Walking: Two Perspectives Martin Buber writes. on occasion. meaningful. pilgrimage. chapters. We set out on our journeys on foot and encounter something unexpected— an intensified understanding of the previously un-thought known. and an encounter with Otherness that is generous and constitutive of humanity in effect. landscape and experience. ELIZABETH YEOMAN (Memorial University) -. “All journeys have secret destinations of which the traveller is unaware.Walking in the 19th Century Arctic: Embodied and Disembodied Knowledges How did British explorers encounter the Arctic world in all its complexity. “the bush”.Iterations: days. Her diaries (and related recordings and photographs) document memories of her own early life as a nomad and oral history of Innu life in the past as well as her growth as an activist. Alice Munro. 9 . scenes My daily dog walk clears a space for writing practice through its reiteration of routes. W G Sebald. 1825) and I argue their references to ‘strolling’. and in relation to my own disparate and chaotic writing life. and walking the land with an Innu Elder in Labrador. chapter. we explore how nomadic apprehension is marked by an intensified temporal awareness. Jane Smiley. In this paper I consider a number of iterations in relation to my own walking and writing practice. episodes. “the country”. we draw on our work in three different cultural sites to explore how walking enhances and facilitates unanticipated or chance forms of apprehension. on translating the diaries she has been keeping in Innu-aimun since the Innu protests against NATO low-level flying and weapons testing on Innu land in the 1980s. disorientation. This presentation explores. ROBERTSON (University of Ottowa) – WALKING IN LITERARY PILGRIMAGE WITH ANNIE LIEBOWITZ AND VIRGINIA WOOLF Judith P. what it means to walk on the land in this context.

For Judith Butler <no/body> “goes for a walk without there being something that supports that walk. but also collective memory. When the Great Tohoku Earthquake and Tsunami occurred just as I was to depart. BRIDGET SHERIDAN (University of Toulouse) – Paths of Memory I left Cornwall at the age of four. Thus. Two forms of phenomenology. The experience was of the strangest: long lost memories reactivated by the process of walking in the landscape rose from the deepest and darkest depths of my memory. I had sensed that the undertaking would change me—but I didn't know how. has questioned this in his essay Ecorces. It is also important in its potential to yield positive or negative affect in the walker. TIFFANY HAMBLEY (University of New South Wales) – Recounting Shikoku I travelled to Japan in early 2011 to embark upon a walking pilgrimage of 1200km. Pedestrian experience may be considered extremely important by virtue of its extensivity: Most people will be a pedestrian at some point during most days. Illustrations from participants’ go along interview accounts and subsequent analysis will be given along with emergent data from depth interviews. the walking circuit of the Henro Michi is circular rather than linear. The paths that meander along the surface of the earth in Thierry Girard’s. I decided to work on walking in landscape and its link with memory. is on the pedestrian experience of motor traffic in cities. where subjects amalgamate with their environment (rural or urban.PANEL 3B TOM CALVERT (University of the West of England) -. Yet there has been little work done on developing a phenomenology of everyday pedestrian experience. Phenomenology is one of the primary approaches in which subjective awareness of experiences can be understood. natural or human. the pilgrimage. The result was a series of photographs exploring the anachronistic side of childhood places. Before departure. Each year a group leaves the French town of St Girons on a memorial walk. over and over again. A specific focus. film and collage to demonstrate androgynous walking as an act along a continuum. by the idea that the only real way to prepare oneself to walk 1200km is to walk the 1200km. around the island of Shikoku. in the trees. Another insight gained is that mitigating factors in participants’ minds seem to lessen the effects of traffic. as will the ways in which these two forms informed the pursuit of a rich and incisive understanding of pedestrian experience. I had tried to 'train' for the walk. Unlike many Western pilgrimages. landscape and observation. had begun to echo life. Georges Didi-Huberman. My art project is to walk the “Chemin de la liberté” using the photographic medium combined with writing to record my performance. There is no way to 10 . in the mountains. Walking is an extension of ourselves. even before I had set upon it. reactivating history. androgynous walking can be understood as a performative act beyond structural rigidity with a vital role in a constantly changing world that requires flexibility and <bio>diversity. One theme emerging from data is that despite the danger and noise issuing from traffic. and which were used during the Spanish Civil War and WW2 by people escaping Franco’s dictatorship or Hitler’s Nazism. on which little work had been done previously.Androgynous walking: A new referent from a Brazilian artistic perspective According to Baudelaire’s concept of “flâneur. The pilgrimage is structured by 88 Buddhist temples. JeanLuc Moulène’s. French philosopher. It is a traditional pilgrimage which circumnavigates the smallest of Japan's four main islands. where ordinary people express themselves <in/dependent> of gender. in landscape. Ultimately. I returned to England from France. CLARISSA RODRIGUES GONZALEZ (Complutense University of Madrid) -. This walk is known in Japanese as the Henro Michi. this visual presentation is inspired by the Brazilian “concrete” poetry movement (1950’s) combining photography. I made the decision to go. or Jean-Loup Trassard’s photographs unveil our collective memory that nature has trapped in the soil. as delineated by Crotty (1996) will be discussed. I was uncertain whether to go ahead with the walk. but I was struck. a reflection of our time such as fashion: Does unisex fashion homogenize our society across borders. my work is now centered on “Le chemin de la liberté”. The advent of the earthquake changed the feeling and nature of my pilgrimage walk from the outset. The nature of photography itself seems to be perfect to reveal memory. produce knowledge and move on. which the walker visits. Rarely has the androgynous referent been considered from a Brazilian perspective when discussing the relationship between visual arts and social behaviour as an <inter/action> of image. Shikoku was far from the physical location of the tsunami's devastation—but it was still a very uncertain time for Japan. participants showed varying sensitivity to its presence: some were highly affected whilst others were able to disregard it. This presentation will look at the relevance of phenomenology for investigating the pedestrian experience. and which question the ruins of WW2’s Atlantic wall. a network of paths that circulate between France and Spain. Thirty years later. erasing differences to the point of locked patterns even possibly expressed in walking? Does androgyny on the other hand propose liberty to transcend genders recognizing the full spectrum from andro to gyne and induce creativity through walking? As a documentation artist. in the sense of becoming physically prepared.made): Is it being changed and absorbed by us or are we being changed and absorbed by it? Walking we make history. After having worked on a series of photographs taken along the Breton coast in August 2012. In this sense. The pedestrian experience can be said amongst other things to be a psychological phenomenon which is experienced through the subjective awareness of the pedestrian.” With or without purpose.” during the act of walking we are open to all possibilities and inspiration may blossom. Many French photographers who have worked on walking seem to have revealed landscape’s tendency to hold the secrets of our past.Examining everyday pedestrian experience with a phenomenological perspective: A discussion of methodology and findings. But I soon came to the conclusion that not only personal memory can be reactivated by the process of walking. The presentation will draw conclusions on the outputs which can be obtained from phenomenologically influenced study. my children being the same age as my brother and me when we left home. as I was walking the coastal path.

this long and slow undertaking? Before I left Australia. Because I wished to write about the pilgrimage. 11 . And if it were. we simply plunge onwards. and to write whilst I was actively undertaking the pilgrimage. forty or more kilometres per day. But on the walk itself. I certainly worried a lot about the practicalities of walking twenty. and of maintaining a writing practice alongside this. thirty. I found myself drawn to consider the issue of walking and creative practice. I wondered repeatedly whether the act of walking in this way was itself resistant to representation. what might that tell me about words and their relationship to reality? These are the themes and dilemmas of walking.prepare ourselves for negotiating the fabric of the everyday. my concerns shifted somewhat: I came to wonder what walking such a long way—and attempting to describe that act—might reveal about writing as representation. How would the art of writing interface with this physical action. writing and artistic practice to be explored in my paper.

walking and art. Both walks have been repeated several times to produce colour field art. applicable at both the micro and the macro level. held in 2005 at Tate Modern. the choice of glass was an apt metaphor as a window on the world. by Niklas Luhmann in 2000. 1970. Underpinning both these events is the English translation of Art as a Social System. such as colour field paintings. I also establish context with some artifacts and work from previous iterations of Erratic Space. The Three Brethren. systems thinking and system aesthetics. There has been a renewed interest in the systems art.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 holistic investigation into notions of place and space. pushpins scissors. I establish the parameters of the display by setting up a work-station with video monitors. to produce art from conceptual walks named System Walks. A systems approach has been applied to environment and place. As there is no predetermined outcome for these walks the act of moving through the area becomes an act of drawing through engagement with the discoveries of finding either natural routes or blockades to passage. walked. That is. My preference is to site new iterations of the work in locations that I am unfamiliar with. that which can observed. and how a place is represented through colour over time. The investigation of Mercator’s work has allowed not only a reflection on the legacy of five hundred years of cartography. INGE PANNEELS (University of Sunderland) -. from the infinitesimally small to the sublime of Space as was so eloquently encapsulated in the Eames film and a notion of wonder which also underpinned Mercator’s ambition for his Cosmographia. 12 . blank scrapbooks etc. experienced. computers with printers and office supplies: tape. The repeated walks illustrate the temporal dimension of colour. The paper considers the methodologies employed by the artist to select sampled colours collected from photographs during walks. From this point I set out on daily walks using a GPS unit as a drawing implement to track the shapes of these walks. In the first iteration the colours are selected randonmly using a computer algoritm and in the second iteration the colours are chosen subjectively by hand. The paper considers an urban walk in Berlin. unmapped and available for roaming. Erratic Space treats both Urban and non-urban space as Erratic. I construct wall maps of the experiences incorporating the materials that I gather on my excursions. and a rural walk in the Scottish Borders.PANEL 4A PAUL GOODFELLOW (University of Northumbria) -. particularly in a gallery or residency site that has a central location from which the work can circulate around. These walks end at the gallery space where I print the GPS drawings and photographs. paper cutters. and this can be traced back to three key events. Whilst the random colour selection questions the representational role of the artist in these works. With a systems and spatial analysis background the artist is interested in the role of randomness and subjective decision-making in the construction of abstract representational models. 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 particularly his concept of "Erratic Terrain". 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 anniversary of the eponymous cartographer’s birth. Psychogeography and Land Art. a Neolithic pre-nomadic space that is unmapped and empty. a space that is available for roaming and hunter/gatherer activity. noted and calculated is referenced by the ‘i’ in Map-i. The ethos of Map-i is based on this premise of interconnectedness: how the observable universe can be broken down into infinitesimally small particles. It engages with mapping in art and the map as metaphor specifically by looking at the notion of space from a human perspective. Rosa-Luxemburg-Platz. For each walk colour from the photographs have been sampled to produce colour field works. Firstly the exhibition Open Systems: Rethinking Art c. always of course observed from a human point of view. download images and video into slideshows. The human factor of space. The paper is informed by research in Systems Art. As a series of works based in a variety of locations. I have developed a project titled Erratic Space. but also on an incredible period of human endeavor.System Walks: Sampling Colour This paper deconstructs the author’s process that attempts to meld systems thinking. To use a potential exhibition as an example. read and clip local and national newspapers. and similar activities. and secondly the Systems Art Symposium at the Whitechapel Gallery in 2007.

ANNA JORNGARDEN (Stockholm University) -. or “psychotherapeutic walking” (A. Wallace). as a form of self-sustaining and self-determining governmentality of health? Should it? Through the artwork. “Walking and thinking are intimately related”. Lithuania).The Mind of the Walker: Meditation and Madness ”I only thought of walking. SHIRLEY CHUBB (University of Chichester) – Significant Walks This proposal involves a visual presentation of the research underpinning the Significant Walks project. In art. landscape has been an ideological juncture. Consider walking ------------------------------------------------------------as landscape Walking is like the formal construction of a mark.1 The collaborative research team (see biography) are working with a group of participants who are invited to identify a personal walk that encapsulates memory. In the same vein.PANEL 4B DR. that the action of my muscles might harmonize with the action of my nerves. DR. The conditional basis of the artwork explores the potential of art to enable a more robust and flexible experience employing walking the landscape as a malleable technique for self-support. The project pools the expertise of a research team that share a mutual interest in the resonance of walking as an interpretive tool and who came together following Shirley Chubb’s site specific exhibition Thinking Path. the pleasure of this hospitality as an embodiment of firstness? Could this sensation be furthered. ‘Walking Study Landscape 1’ based in Nida. inaugurating a view of walking as stimulating reflexivity and higher states of consciousness. In this way the work reflects Eisner’s theory that Human knowledge is a constructed form of experience and. Since this perceptual shift. It has been promoted as “the perfect tonic for a jaded mind” (A. MICHELLE MANTSIO (Victorian College of the Arts) -. fast and far”. Ever since formulated by Rousseau. In doing so I am suggesting that they open up the potential of how you might consider walking as an engagement or exploration of hospitable environments for self-support. The sufferer from fugue was a 13 . reminiscence and familiarity as well as being a measure of their physical experience. which is an incredibly succinct technique. Funded by the Wellcome Trust. Wainwright) and has even been called the “walking cure”. what you have left behind. the line.for self support There is a quality to walking where you may have a moment of identifying that you are in between. One of the most striking cultural examples of walking as madness is the epidemic of fugue allegedly observed by late-nineteenth century psychologists. “I can only meditate when I am walking”. space and depth. the idea of walking as an essentially wholesome practice is unsettled by another association. a juncture in a line that in its recognition can create a sensation of hospitality. Lithuania. The project will present an immersive digital artwork that synthesizes eye level video documentation of participant’s personal walks with simultaneously gathered streams of kinematic data recording the movement of the spine. Each journey acts as a vehicle for precise accounts of physical movement whilst also presenting the reflective individual at the core of scientific understanding. where space and time hold you.Consider Walking: Engaging hospitable environments for self-support (Walking Study Landscape1: Nida. is a reflection of mind as well as of nature. The resulting films will engage viewers in micro journeys that express individual experience through the interpretation of clinically accurate data. It is a palpable moment. as soon as you draw a line on a piece of paper. It generously supports how humans and their experience of their environment might meet with the more abstracted propositions of art such as line. which took Charles Darwin’s daily ritual of walking the same path in the grounds of his family home as its inspiration. you have constructed space through elevation and depth. Significant Walks explores the reality of walking for individuals with chronic lower back pain. You begin as a point and then given your meander the line is constructed as a demarcation of your location in space. therefore. On the other hand. Historically the suggestion is that people were first introduced to landscapes in paintings and then saw landscapes in real life1. Consider walking ---------------------------------------------------------. there exists a strong cultural association between walking and the workings of the mind. These walking lines or landscapes generously offer sympathetic embodiments that support a translation of human experience to the abstractions of space found in art. In between. walking is also linked to selfactualization and self-restoration. Knowledge is made and not simply discovered. which instead links walking to mental instability and even madness. claimed Rousseau. but in this text the Rousseauian belief has more sinister implications: the intense peripatetic meditations culminate in a mental and textual collapse. the excited protagonist comments on his state of mind in Charlotte Brontë’s The Professor. yet not quite at your destination. Do we often assimilate through our experience of landscape. Researchers and participants work together to explore how the interpretive qualities of visual effects can be applied to each body of synthesized footage in order to express the nature and resonance of personal movement whilst walking. this paper will discuss how walking the landscape has been explored. and walk I did. says the character Oehler in Thomas Bernhard’s novella Walking (1971).

man who suddenly and inexplicably walked away from everything. When is walking considered a cure? When is it a symptom? And how are these relationships conveyed textually? 14 . a condition that also implied memory loss. Sebald and Nick Papadimitriou to investigate the ambivalent discourses linking walking and the psyche and explore ideas on walking as involved with revitalisation as well as dissolution of the mind. I will consider these and further examples also from W. In this paper.G.

and Henrietta In this paper I will describe how the attitudinal basis of being an artist has underpinned my navigation of the built environment. appraise and propose how future exhibitions that deal with this subject can actively engage a public through walking and situate a starting point. When does the walker become an architect and conversely. Key questions raised by Ambulation were the need for quorum and the danger that the exhibition becomes ‘one person deep’. An unraveling of the methodology will be ordered alongside anecdotes of descent.Ambulation. and paused at along the way over the last 25 years of my itinerant practice. Through using El Lissitzky’s and Frederick Kiseler’s exhibition strategies where they blended the complexities of architectural space with narrative concerns. Performance and the Contemporary City. documented activity or as a performative salve to commodity fetishism . whether it be as primary performance. guidebook and app whilst problematising the object and trace anew to close this chapter of my oeuvre. and distinctive anomalies. At the time of formulation my practice was consciously peripheral to the reconfigured commodity/celebrity focused market of the young British artist .through a solitary walk that acknowledged the journeys made (by a few others) through land art but brought older traditions of viewing the landskip.T where setting up an embedded unit can engage and develop a ongoing dialogue within a community. which was first performed at the sixth Walk21 conference in Zürich and has since been published in Performance Research and in Nicolas Whybrow’s anthology. Everything you need to build a town is here.it will embrace the live performance. Art walking is. when does architecture go on a walk? This contribution to the conference. films and new commissions by artists and architects who use walking as an artistic practice. Secondly. architects and walkers (such as Constructivist kiosks. and walking artists. the paper will address key curatorial and design elements that allow walking practice to develop/start and finish from a temporal hub situated outside the white cube. thus developing a collective worth and sense of belonging. Ron Herron's Walking City). 2012). Friern Barnet Pauper Lunatic Asylum or the British Museum some 15-20 years ago. Ambulation was exhibition. Wonders of Weston. as well as referencing the convergence of walking and architecture by other artists. formed in the mid 1990s will reveal that my walk-works have been seminal to what is now a popular currency for contemporary artists. ZOE ANDERSON – A Guide to Walking This paper questions the validity if the artists walk in terms of the 'purity' of walking. or might contribute to architecture. Appraisal. It featured commissioned tours exploring the city through its histories.STOP! DON’T WALK! Saying Goodbye to Tom. 2010. we are considering the ways in which that 'walking culture' contributes to. dissent and disorder from the 50 or so discreet walks I have made across the UK and further afield . Ambulant Architectures. of the doing of history. in fact. mis-guided . anthropologies and geographies into the everyday. for a long time a solo activity is now but one of many modes of walking enquiry and entertainment available to the artist.problems of cultural capital that were actively confronted when I took small groups on discursive walks around St. rather than a self referential exercise. The artists and architects were invited to pose new work and offer their own take and position upon the ideas of walking as an artistic practice and on Plymouth. how to develop a support mechanism that allows us to remove ourselves from the prosaic gallery setting and the constraints that this imposes. 2008. Dick. It asks the question. Using the exhibition Ambulation (Plymouth 2010) as a case study we wish to examine. Wrights & Sites produced A Manifesto for a New Walking Culture . We will also draw on observations we have made when drifting. a performative paper in four parts. the new venture capitalism of the contemporary visual arts. our ethnographies. 15 . 'should artists walks. will draw on our own experiments with walking and architecture (e. The paper will also propose a new edition of I. be separated by a new set of terms?' TIM BRENNAN -. Sideways Itinerant Festival. STEPHEN HODGE || SIMON PERSIGHETTI || PHIL SMITH || CATHY TURNER (WRIGHTS & SITES) -. I will outline my manipulation of the guided-walk form as discursive performance to highlight political fissures and rupture in places traveled through. Examples of my walking methodology (The Manoeuvre). What was. Proposal. then. In 2013. Approach.g. George-in-the-East.T). series of events. BBI Festival. Included within the exhibition was The Itinerant Toolkit (I. a temporal archive centered on journeying as an artistic practice. Jan Gehl's Life Between Buildings.PANEL 5A MARK JAMES || TIM OFFER -.The Architect-Walker: Manifesto and Manifestations In 2005.

Indeed. how people engage with the materiality of the path is significant to their experiences. be captured in visual form? What happens when Klee’s ‘Twittering birds’ meet ‘Messiaen’s ‘Petites Esqisses d’oiseaux? This paper is concerned with the translation of the sensorial experience of a walk to visual representation in the form of a sensory score or sensory collage. The paper explores the sensory score as a valid research tool. chance meetings and customary use of the land.PANEL 5B AMY TODMAN (University of Glasgow) – Walking the Five Sisters at Silbury Hill West Lothian’s vast and contested shale bings. how can the sounds. products of ‘fracking’ introduced in the mid nineteenth-century. and how this coastal environment affords the body a variety of actions and sensations. who pioneered walking as integral to his surveying practice. textures. Latham’s and Stukeley’s emblematic visions are linked through the survey of a landscape from a range of viewing platforms. as well as memories. a methodology or method of analysis fit to examine the urban/rural landscape. they remain oddities in the landscape. the moving pictures of Sibury and the bings explored through the medium of the walk. phonetic and musical notations. to others who walk the WCP. Central to the proposal of the sensory score is the relationship between musical concepts and visual elements e. Existing methods of graphic notation are examined including acoustic. sights and smells encountered. Cultural attachment can also involve issues of language. and the theatrical scenography of his resulting imagery. hence an additional focus on how physically walking the WCP may connect people to the Welsh language. movement. The material dimension of the WCP is fundamental to this study as it impacts on the experiences of the different people who walk along this costal space.Walking Wales: Experience. Re-creating Stukeley’s tour. CHARLOTTE JONES (Loughborough University) – Sensory Score as Research Tool Walking the canal tow-paths of Staffordshire. Dublin) -. as sites of ecological value. it was his extensive tours of Silbury hill in Wiltshire. formed of the spoils of industrial waste. The paper will focus on mobility and the movement of people along the WCP. in an attempt to propose a visual translation process RUBY WALLIS (National College of Art and Design. the quality of the environment which enables people to perform an action such as walking. weather. and at differing scales. Can sound be effectively translated using graphic signs to visual form? Further more. I will walk Latham’s ‘five sisters range’ employing GIS way finding technology. its wider topographies. adapting and updating his detailed surveys on the unfamiliar territory of the bings. is memorial to the possibilities of mobile viewing. This contested site. This draws attention to issues of affordances. and to Welsh identity. produces new visualisations. as well as gaining a place within local folk-lore and art history. 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. that he believed had allowed his reconstruction of the site as ‘a great picture of an animal laid down by the druids’. Wales being the only nation with a continuous path along its coastline. made a virtue of the bings notoriety. 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). and overlaying my journey with the visionary eyes and feet of the early-eighteenth century antiquarian William Stukeley. this period also saw their re-imagining by the artist John Latham. have recently been recognized. This is a unique opportunity to explore a region like no other. and walked. but rarely looked out from. felt and sensed through the bodily actions and performances of walking. who imbued the heaps with a Goddess mythology. AMY JONES (Swansea University) -. claiming them as ‘an immaculate monument/an inescapable doom’. a continuous path along the whole Welsh coastline. using found surveys taken from the air. can textures be effectively translated using frottage and imprint to visual form? The paper considers current scholarship regarding the experience of walking. Considering the nature of information captured and noting changes to the site. that is.g.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 16 . It investigates ways in which experiences of the WCP are understood. The argument is that it is possible to build on the above to develop a multi-sensory representation more akin to the experience encountered when walking. particularly on the fact that it enables movement along the entire coastal perimeter of Wales. is here granted the careful attention Stukeley accorded to ancient landmarks. pitch to line. often looked over. connecting the record of the past with its present in often unexpected ways. Latham’s residency with the Scottish Office. The paper examines methods used by the World Soundscape Project to represent a soundscape alongside the graphic/visual signs used within graphic scores such as those collated by John Cage in his Publication ‘Notations’.Autowalks . Reviled during the 1970s as national eyesores. dynamics to perspective. Likewise. and addresses problems associated with the displacement of sensory experience from location and the transferability of graphic representations. Despite this.

Roberta Mock and Catherine Russell this paper will focus on one part of a larger project on an alternative community in the West of Ireland.photography. Merleau-Ponty. I have attempted to subvert an authoritative autobiographical voice by the collection of multiple experiences. which moves beyond language and objective documentary practice to connect with place in a sensory way through random movement.This approach seeks to gather non-narrative pieces of video as experimental research to reflect on the way individuals experience the site. The methodology allows for introspective dialogue to be recorded. Drawing on the writings of Judith Butler. A person can easily walk through the space and talk to the camera without encountering another being. The rural nature of the site allows a certain amount of solitude. 17 . the methodology explores space and place and partakes in a mood of meta-discourse. During the twenty minutes some of the short films and photographic stills will be shown demonstrate the practice of Autowalks. This is underpinned by an auto-ethnographic researching style. This is a walking/oral practice in which I invite members of a community to explore the geographical space and speak about their personal experience of it. the evasion and determination of a definition of 'place' becomes apparent throughout this paper. Questioning whether it is possible to represent a place without it becoming a ‘fixed’ view. My aim is to find an embodied and experiential way of defining place. The methodology is a practice called Autowalks.

but the history of Surrealism’s intimate connection with walking in Paris. it could be argued that the image of walking emerged and unfolded in cinema (for example in extended wanderings so characteristic of Italian Neorealism. This paper will examine boulevard Saint-Laurent as ambulated place..g. G. and political organization of the frame. Though there are many great street photographers. I repeatedly walked and photographed the entire 23 kilometers of this street for the creation of an interdisciplinary artwork. It was also prescient.PANEL 6A PROFESSOR BRUCE BAUGH (Thompson Rivers University) -. The human figure walking is the subject matter of the earliest cinematographic images.” I will argue for the agency of photographic projects marked by the ontological presence of walking.Cinematic Pedestrianism. From this perspective. I believe these photographers are more akin to athletes than idle strollers. 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. and aesthetic consequences. They also served as technological tools for understanding the universe. the aesthetical layer itself becomes a political statement. movement. I use works on remembering as the reactivation of material traces from hermeneutic theory (Droysen. his approach “comprehends both the material and mental dimensions of spatiality but […] also moves beyond them to new and different modes of spatial thinking. Victor Fournel wrote: “This man is a roving daguerreotype that preserves the least traces. I went to Paris to retrace the steps of Breton and Nadja as recounted in Breton’s 1928 memoir. Finally.On Walking and Photography: Henri Cartier-Bresson and Garry Winogrand Walking and photography became associated as early as the 1850s through the figure of the flâneur. temporal. provide the framework to a codified experience to this urban corridor. My intent is to link walking and photography but I want to free the photographers I discuss from the type-casting of the flâneur. Kierkegaard and Heidegger’s theory of “repetition” or “summoning back” the past as a present possibility. I aim to discuss this philosophy of movement via selected scenes from Rene Clair’s Paris Qui Dort (1925) and to open up the floor for a more general discussion about the notion of “cinematic pedestrianism” as well as its political implications. as the invention of “detective” cameras in the 1880s. Since the 1960s. With this transformation taking place on the level of aesthetics. cinematic tropes of flânerie. could I lose my present in their past. perceived as a machine of a myriad moving parts. was considered to be best observed in the basic act of walking. ASLI OZGEN-TUNCER (University of Amsterdam) -. During two years (2010-2012). The presentation will be accompanied by PowerPoint slides documenting my Paris walks and providing the context for Breton and the philosophical approaches used. I will show how direct experience and different photographic works including my own project. the 18 . I will concentrate on how scientific fascination with movement in the 19th century translated into a cinematic aesthetics of movement (for example. R. social and geographical ramification. these two mediums result in yet another distinctive understanding and representation of the city. Freud on memory and neural “pathways. ERNIE KROEGER (Thompson Rivers University) -. This paper focuses on such a philosophy and its social. narrative and memory in The Practice of Everyday Life. would make this type of photography possible. I will look for clues of their physical involvement with the world they move through and photograph. urban aesthetics of rhythm). Photography and Thirdspace along Boulevard Saint-Laurent Boulevard Saint-Laurent is a central artery that cuts across the island of Montreal. “remember” what they perceived. In this context. natures. boulevard Saint-Laurent has been the nexus of distinctive creative urban projects embedded in walking. street names) and the memories called up through their association with a cultural narrative: not Nadja. or the Emergence of Cinematic Movement. One naturally goes from philosophy to cinema. Collingwood’s The Idea of History on “re-enacting” the past. In my presentation. By following their footsteps. e. especially the relationship between material cultural “markers” (places.” --. and French Nouvelle Vague) as an epitome of a philosophy and politics of movement. In my presentation. these works produced photographs and data that reveal different approaches and interpretations for this place that involve formal and conceptual methodologies. “Cinema not only puts movement in the image. Dilthey). which is the focus of my doctoral research. porous framing of the pedestrian. These images are not only aesthetic registers of a widespread scientific fascination with the phenomenon of movement that marked the late 19th and early 20th centuries. When joined by creative strategies.Walking. and so return to their past to “haunt” it? Retracing their “lost steps” investigates the relation of perception and memory. The doublehaunting of the present by past traces and of the past by present experiences are thought with the help Jacques Derrida’s work on traces and haunting and Karen Till’s thesis that “individuals may come into contact with past lives through objects.Gilles Deleuze. and how combining walking and photography translates into heuristic space. defined along the inseparable axes of body. it also puts movement in the mind.Retracing and remembering: in the steps of André Breton and Nadja Can past memory traces be reanimated by retracing someone else’s steps? In 2008. I will limit my discussion to two: the Frenchman. working respectively in Europe and the United States. fluidity of the shot. the “Old World” and the “New World”. Garry Winogrand. charged with generations of cultural. and 35mm hand-held cameras such as the Leica in the 1920s. those of Muybridge and Marey. PHILIPPE GUILLAUME -. Edward Soja discusses Thirdspace as a means of engaging spatial analysis beyond the binary of real and imagined places. Most street photographers have been too easily associated with this character which not only stereotypes them but also limits interpretation of their work. and remnants that haunt the contemporary landscape” and reanimate them. through the newfound photographic medium.” as well as Michel de Certeau’s reflections on place. a mobile body moving in and out of the frame usually transforms the spatial. buildings. Henri Cartier-Bresson. Walking and photography each contribute distinctive experiences with urban space. In this newfound aesthetics.” His idea of a strolling photographer recording images is a fanciful interpretation of what photography was actually capable of at the time. but also from cinema to philosophy. which further shaped or accompanied the history of cinema up to present.. political. Najda . and the American. space and time.

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

a reminder of progress outside ritual. and the first exhibition will open later in 2013.Walking as Ceremony This paper will present the workings to date of PhD project – A Contemporary Pilgriamage: Mapping Long Distance Cultural Landscapes through the Lenses of Walking and Ceremony. The project now has hundreds of contributors around the world. Through the experience of communitas in ‘Walking’.PANEL 6B BARBARA LOUNDER (Nova Scotia College of Art and Design) -.Communitas. It built on the 1968 Trail of Broken Treaties caravan. Following a predefined route with no decisions on which path to take opened up time and space in which to dwell. With the narrative of this journey as background. meditative walk through a landscape punctuated by installations and soundscapes to experience the passage of time without precise markers. In Richard Schechner’s Efficacy / Entertainment braid he identifies some of the components of ritual as containing: symbolic time. and results. Having surrendered their time. Inspired by this. Rituals. MORGAN BEEBY – A walk across a continent: meditations on time and ritual. ‘Walking’ has the elements of a transformative experience through its rudiments of ritual. Métis artist Christi Belcourt started a Facebook group called Walking With Our Sisters to launch a commemorative art project dedicated to the over 600 indigenous women missing or murdered in Canada in recent decades. Yet these rituals were sporadically interrupted by brief re-exposures to civilization. Ritual. despite the participants being in a solitary. Victor Turner suggests that ritual is “a transformative performance revealing major classifications. and contradictions of cultural processes” (Turner 1988:157). Despite its simplicity. I examine how transformation occurs whilst drawing on theories of temporality from Bergson. Approaching ‘Walking’ from an autoethnographic perspective. and the distance between qualitative and quantitative research. participatory walk along the North Norfolk coast offers the possibility of transformation and what Bergson would have described as ‘pure. a group of young Cree from northern Quebec set out on a 1500 km spiritual and political quest. categories. a spiritual and political trek from Alcatraz Island in California to Washington DC. participants are guided by ‘angels’ dressed in yellow ponchos on a slow. both voluntary and involuntary. and the corresponding relationships of pilgrimage and space. The project subject site is principally an Australian Indigenous dreaming track extending approximately 3000k non-linearly through the local and trans-local landscapes of coastal-edge to desert-interior Western Australia. Also in 2012. How and why is the long walk still a chosen form of protest and commemoration? What forms do such actions take today? JAMES LAYTON (University of Chester) -. life became cyclic. Like earlier walks and marches of Gandhi and Martin Luther King. The project considers all matter of distances and their potential ceremonial anecdote – the distance between the ancient Aboriginal past of mythic-landscape to the more recent colonial past of landscape conquest. space and pilgrimage In 2007 I spent 121 days walking from Mexico to Canada. The group’s initial intent was to protest cuts to federal programs for native Canadians. ‘Walking’ does indeed offer a contradiction to the everyday process of walking.The Longest (Ongoing) Walk: Walking as Protest and Commemoration In 1978. I will describe the relationships between ritual and time that emerged. In the Fall of 2012 members of First Nations communities in Canada started a social-media based campaign called Idle No More. a site specific. collective creativity. become dismantled and allow for transformation to occur. and the places it connects en-route. the cross-cultural collaborative distance between contemporary Australian Aboriginals. Robert Wilson’s ‘Walking’. AILSA GRIEVE (University of Western Australia) -. 20 . the distance the path covers. unadulterated inner continuity’ (1946:14). and Transformation in Robert Wilson’s ‘Walking’. meeting back at the same point each morning. In a journey whose event horizon preceded its completion. toward the destination. audience participation and belief. formed the fabric of this new existence hitherto unknown to me outside of everyday life. meditative state. They and thousands of supporters are to arrive on Parliament Hill in Ottawa within days of this proposal deadline. the cultural framework within which normal ways of measuring time are typically adhered to. as well as a visible celebration of native culture. it was an act of civil disobedience that captured attention around the world. the Journey of Nishiyuu. and non-Aboriginal Australians. but it quickly became a vehicle for more far-reaching demands. using an extremely slowed down practice of activity usually associated with getting from A to B to get C done. Anishinabe leader Dennis Banks and other members of AIM (the American Indian Movement) started The Longest Walk . focusing attention on the plight of Native Americans. DR. I will also explore how ‘Walking’ became a liminoid encounter that offered the possibility of transformation through spontaneous communitas. and observations of ritual experience and theory from Turner and others.

With reference to the work of a number of autonomist thinkers. I begin by piecing together a brief photo-fit of the nineteenth century Parisian flâneur. DARREN CARLAW -. and the field diagram.21st Century Flâneur? Reinterpreting the literary urban wanderer for the new millennium. To date. If landscape architects state that designed landscapes are to be experienced as aesthetically appealing. as opposed to something that unfolds. or a scroll painting come to life. Walking as a medium of experience does the opposite. The intention of this paper is to critically interrogate the political. This paper considers walking as a medium for developing and deepening Landscape Urbanism as a theoretical position within contemporary Landscape and Architectural theory. can taint reports on the quality of a landscape. Enjoying a resurgence in the 1990s. yet has continued to exert influence over later aesthetico!political activities. To avoid this misunderstanding and to test a different method for appraisal I have chosen to do a series of walks in the designed landscape of the Island of Walcheren in order to evaluate it aesthetically. CHRISTOPHER COLLIER (University of Essex) -. the theory of Landscape Urbanism has relied on two increasingly important techniques of representation within the built environment disciplines: satellite/aerial photography. However. Using New York City as an example. Walking with me This paper is on walking as a phenomenological tool for the aesthetic appraisal of designed landscapes. I was following the ancient Buddhist pilgrimage route known as the Henro Michi. When I told them. most people visualised an extended stroll around a giant Zen garden. as well as conclusions on the usefulness of walking for aesthetical appraisal. They are part of the continuing legacy of modernist theory and representation in the landscape and architectural disciplines. The paper describes methodological considerations and some of the advantages of a walk and its description over positivistic GIS-based methods. then a way should be found to find out whether this goal has been achieved. Vitruvius stated three goals for architecture firmness functionality and beauty. However a critical misunderstanding might occur. these later iterations reflect a number of critical problems back upon the historical tradition. I propose that recent artistic iterations of the dérive. RUDI VAN ETTEGER (Wagenigen University) -. placing the subject and the object into an abstract relationship. and allows for an important corrective to the distancing tendencies of other modes of experience through representation.The Contemporary Dérive – Recombination and Recomposition The ‘dérive ’. This paper examines the implications of walking and representation for our current understanding of both landscape and urbanisation within the landscape and architectural disciplines. the vulnerability of the poor. One way would be to ask people in the landscape to appraise the landscape they are in. some of the experiences on the walk. cultural and ethnographic ramifications of the urban walking narrative as it develops and mutates across the arc of almost two centuries. sprawling wasteland of Japanese exurbia. I demonstrate how the flâneur was in essence a product of bourgeois urbanism – a manner of celebrating the magnificence of the city. as a specific method of politically and aesthetically engaged walking. I will try to convey the sense of “Wish you were here” that I experienced on this walk. I conclude by discussing how the flâneur device continues to mutate by drawing upon of the moment walking narratives received by StepAway Magazine. I have chosen for a radical first person phenomenological approach. using this experience of Japan’s contemporary landscape as a starting point. like in a walk. was defined and developed by the mid!20th century Letterist International. These techniques are fundamentally distancing and totalising. respectively. Before turning to examine contemporary poetry and prose. I critically analyse walking narratives in the work of James Baldwin. David Wojanrowicz and Sarah Schulman as a means of revealing how a specialist literary street-level reading of the city serves to expose de facto racial segregation. Most of it was by the side of a highway though the endless.PANEL 7 ANDREW TOLAND (UNIVERSITY OF HONG KONG) -. It embeds the subject in the urban environment. and the threat of gentrification to a lesbian community. a literary journal of which I am editor. From the era of high flânerie to the present day. The reality was much more brutal.WALKING – LANDSCAPE – URBANISM In April and May 2011 I walked 1200 kilometres around the island of Shikoku in Japan. I acknowledge the existence of devices resembling literary flânerie found in the coney-catching and Theophrastian character books of sixteenth century London. The talk is illustrated with a selection of the photographic images taken during the walk. In doing so. but argue that the origins of walking as an identifiable and pervasive creative/artistic force lie in Baudelaire’s Paris. multiracial twenty and twenty-first century metropolis. The confusion over whether landscape is something to be overseen in one gaze. it has seen further renewal within contemporary practices. often fail to account for 21 . I then examine how the literary device of the urban walker has been reappropriated by the city’s ‘excluded others’ as a bohemian/artistic means of exposing tension within the multicultural.Wish you were here.

art’s spectacle!participation binary has been collapsed under the paradigm of networked connectivity. holds a number of blindspots with regards its own implication in processes of enclosure and circulation. Likewise the artistic dérive . participatory fluidity with the recombinant modes of subject construction that characterise neoliberal biopower. These need to be taken into account before such assumptions to emancipatory consequence can be vindicated. as Claire Bishop has proposed. 22 .the convergence of their playful. must one reappraisal contemporary dérive as socially!engaged artistic or political practice. despite often being conceived as an emancipatory practice. I ask if. To what degree can artistic uses of dérive be seen as both a normalisation and valorization of precarity? Conversely how has the tactic of dérive been utilised towards a critique of such ‘precarization’? Having examined the above proposition with reference to a number of practices. along with valorization and social reproduction. and how does this inform our considerations upon the dérive as a historical tradition of aesthetically and politically engaged walking.

WILL SOMEBODY PLEASE WALK WITH ME (2002-2006). 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. text works by Richard Long).PANEL 8A AILEEN HARVEY – ‘Walking. Where the former seemingly tries to make a representation of reality. These notes will be supplemented with contextual historical material that addresses landscape in relation to the event of walking and make a distinction between landscape and terrain as an ‘event of ordinary affect’ that not only maps connections and routes but also identifies and explores its dis-junctures. the latter can suggest a more direct relation of ‘making present’. His analogy of ‘walking a forest path’ proposed that exploring by walking allows the territory traversed to be the guide to both exploration and thought. And similarly although he appreciates that people enjoy going on walks organised by the Ramblers Association. there has also been a wave of such performances that transgress beyond the material properties of site itself. KRIS DARBY (University of Exeter) – Can’t 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. Where watercolour painting usually entails a distanced view onto a landscape.the hut belonging to philosopher Martin Heidegger (1889-1976) and the path marked out that circumnavigates the landscape in which it is situated. hierarchies or causal relationships from the material landscape. I argue that certain approaches to art-making are well suited to representing the experience of landscape and that these approaches are not simply descriptive. homeland and the thinking of Being . performative paper or a provocative/instructional publication. Drawing on different kinds of art practice there. WALK WITH ME. and abstract ideas. is well documented. and Non-Pictorial Representations of Landscape’ The talk focuses on non-pictorial artistic strategies. existing either as a studio production. 23 . Fulton says that although he appreciates that people enjoy painting watercolour scenes. a designated route that traverses the perimeter of the valley where the cabin is still situated. Roni Horn and Donald Urquhart offer reference points: for drawing as expressive of the circumstances of making. 1996:364) for their audience to follow. This leads on to poetics (cf Elizabeth Helsinger on literary landscape. In this “performance as lecture” (Laing. I look at works by Gabriel Orozco and Francis Alÿs as sculptural memorialisations of a walk. Art. This paper will focus on field notes made while undertaking a number of walks over a period from 2010 until 2012 of the Heidegger Rundweg . individual experience. in particular within art practices that make significant use of walking. JO VERGUNST (University of Aberdeen) -. he does not wish to walk in that way. Helen Mirra's work) – and related methods that inherit structures. DR MARK RILEY (University of Roehampton) -. existing as it does elsewhere in time and space. Heidegger’s connection with a specific locale in the Black Forest south of Freiburg. It will describe the experience of walking the Rundweg and also reflect on wider historical issues surrounding the locale of Todtnauberg in relation to Heidegger’s residency there. In this paper I wish to demonstrate how such pedestrian performances can challenge current paradigms of site-based work by highlighting the merits of getting a distance (Heddon. and of a process of careful attention that can re-trace a person's physical and emotional presence. the wooden hut built for him in the 1920s. As a place. I begin with some non-visual aspects of drawing and painting. Lone Twin ‘rearrange’ and ‘edit’ these respective experiences into a conceptual journey or “non-trip” (Smithson. Fulton’s art also makes reference to Tibetan Buddhist ambulatory practices and invokes the politics of landscape as well as spirituality. 2011:156). non-site and site. I want to follow the links between walking and art using my ethnographic fieldwork in north east Scotland. Gregg Whelan and Gary Winters present a journey of their journeys. I apply Robert Smithson’s concept of the “non-site” (1968:111) to Lone Twin’s WALK WITH ME. and a particular building.Pathmarking: Walking the Heidegger Rundweg at Todtnauberg. it reflected and articulated Heidegger’s concerns with rootedness. Such works. flirting with the thresholds between inside and outside. at a time. 2010-12 This paper proposes the idea of walking as an event of ‘sense making’ specifically in relation to distinguishing between ideas of ‘landscape’ and ‘terrain’. 2003) from the site performed. In illustrating this.Watercolours and walking art: treading the politics of landscape with Hamish Fulton This paper takes its lead from comments made by artist Hamish Fulton. other art forms need closer and more multi-sensory access. The papers ends by asking how governance of the landscape could enable different kinds of walking and other practices – perhaps more imaginative ones – to take place. It will focus on a specific ‘locale’ . Within this. Todtnauberg. Further. within a landscape. displacing the walker from the site walked.These approaches suggest a move beyond thinking of art as visual image – the correlate of not conceptualising the human subject as an eye – and a broader consideration of how an artwork engages with place. I assert here that whilst deferring attention to walks they have undertaken previously. he does not wish to make such pictures. what might Fulton’s problem be with how the Ramblers Association walk? We could distinguish the structured and somewhat hierarchical trips of such clubs from more improvised walking. Irene Kopelman. or are not descriptive at all. In Scotland. radical outdoor access reforms are re-shaping the ways that walking can happen. concern a walk that cannot be grasped in the instant. DR. and then back to the imprint – especially the use of material abstraction (for example. What kind of relations with the landscape are then implied by different kinds of walking? And specifically. I will explore the contrast implied by Fulton between scenic landscape painting and alternative forms of environmental art. Drawing on phenomenological analyses of the experience of sculpture (cf Alex Potts). via indexical marking or physical coding of narrative. For Heidegger the relationship between thinking and the physical experience of a locale were intrinsic to the process of ‘making sense’.

A.org. "Walking LA : From Documentation to Performance " published in the International Journal of Art & Technology (V2 N3 2009) and her work with the Los Angeles Metropolitan Transportation Authority's (Metro) Art Program to develop walking tours that encourage people to ride public transport and engage in the city as a walker of it. an enlarged ecological perspective. interactive and playful artworks that reflect on aspects of the Israel Palestine conflict is titled Art of Play in Zones of Conflict . Her practice led research.wordpress. Martin’s College of Art and Design) -. is documented in '7 walks in 28 minutes' film and will be part of forthcoming Contested Sites/Sights exhibition at International New Media Gallery (due December 2013). the book is as relevant and vital today as it was then. excerpts from her article. This paper will present the collection.Language of Place is Mashi&Spielen (which means ‘Walk and Play’ in Arabic and German respectively) where cards. Published in 1994.Suzi Gablik in The Re-Enchantment of Art In The Re-enchantment of Art. Her Seven Walks in a Holy City project. Whitechapel and Shoreditch in the East End of London. and the way in which they operate varies greatly in the different forms and contexts in which we have used them.Making Sense of a Contested Terrain Through Walking and Playing. 24 . The texts give voice to that which is usually overlooked. Therefore navigating a city so vast and confusing on foot becomes an absurd act. Embedding these tales of the everyday and overlooked into the fabric of the building seeks to celebrate these characters and their lives. and at the same time rich in visual allegory for the nature of a fundamental. play and wars over the ages. and a greater engagement with the mythic underpinnings of spiritual life. Generated as part of the ongoing project walkwalkwalk: an archaeology of the familiar and forgotten2.PANEL 8B CLAIRE QUALMANN (University of East London) -. including fly posting3. no hope. In contrast the flyposting of the stories into the route from which they were collected imagines possible encounters. She is currently PhD candidate at Central St Martin's College of Art and Design.The Case of Israel Palestine. For example within the Old Town Hall they seek to present a view of the area which may be marginalised as it regenerates. : Prompting Social and Perceptive Experiences in Los(t) Angeles Often referred to as a city where “nobody walks. My object is to reveal the rich complexity and chaos of an underlying.uk Idit Nathan’s work originates from theatre and is often playful and interactive. an alternative tourism campaign. which examines embodied. performance and permanent installation in the form of engraved signs within the Old Bethnal Green Town Hall 4(converted to a luxury hotel in 2009/10). leafleting. Gablik argues passionately for the restoration of purpose and meaning to contemporary art – in particular for a new paradigm whose imperatives are a revitalised sense of community. Her projects are examples of her interest in amplifying the role of the body as a spatial and sensory tool for navigation while prompting social. inviting participants to draw out cards with facts and anecdotes relating to the transmitters’ site with its imagined links to communications. 'more than human' world. perceptive and playful behavior in a city where people are often hesitant to walk and to be in public space together. Walking with Gablik will review my use of walking as the creative platform for a contemporary photographic practice which seeks to engage with the issues raised by Gablik. WALTER LEWIS – Walking with Gablik 'Our loss of ecstatic experience in contemporary Western society has affected every aspect of our lives and created a sense of closure.” Los Angeles’s urban sprawl is often disorienting for the visitor as well as for the long-term resident. took place in 2011.com SARA WOOKEY -. in which there seems to be no alternative. commencing a new process of myth making to accompany the Blind Beggar into the future imagination of Bethnal Green. moments of recognition and identification in spaces normally reserved for advertising messages or mundane public information.(A) (No)Body Walks in L. 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.walkwalkwalk: Stories from the Bethnal Green Archive walkwalkwalk: stories from the Bethnal Green archive1 is a series of text works created from anecdotes and encounters around a walk route that passes through Bethnal Green. with our response to ecological crisis continuing to be muted – that of the distanced and materially addicted rather than the sensual and alive. but contemporaneously overlooked. Gablik sees this necessary for the survival of both art and mankind in an age of overwhelming environmental crisis. a sensual encounter is sought which is both emotional and aesthetic. and no exit from the addictive system we have created' .Sites and Sights at the Throw of a Die . interconnectedness. In the midst of the frenzy and materialism of the 21st century. but superficially banal. www. IDIT NATHAN (Central St. A recent example of a playful walk was commissioned by PVA for its Audio Lab . She also blogs about play and its links with conflict at http://playandconflict. speaking of a world beyond the hotel of fragile freedoms and serendipitous encounters. production and dissemination of these stories in a range of formats over the last 8 years. dice and a timer were used on a silent walk to Rampisham Downs (previously home of the BBC world service transmitters). She will share her projects including BEING PEDESTRIAN.iditnathan.

WALK DETAILS 25 .

” . I aim to re-claim this. In our respective practices as well as collaboratively we have playfully explored. anxiety and difficulty and awkwardness. having gone round it like a dog in circles to see if it is a good place . Perhaps. “We do not much need to understand the form and nature of our emotional relationship with wilderness. A remote place. what spaces and places mean to people and how they might interact with them. extending over five square kilometers. and awkwardness in our relationship to these places where getting lost or feeling lost can take us into another ‘emotional being’. or. just different and one that women artists devise through their own ways of working through process and material. WALK 2 IDIT NATHAN AND HELEN STRATFORD – Walk & Play. I have been ‘walking out’ to eight ring contours around Alport Moor and Dale west of Derwent Reservoir and south of Bleaklow in the Dark Peak.. not better. WHAT I AM GOING TO DO AND WHY I will lead a group of conference participants out from the conference venue. as to recognise that the nature of wilderness is itself formed from our emotional being. which has been associated mainly with male artists who have walked out alone and perhaps inwardly focused. rather than striding out across the landscape. “I am on the plateau again. For Walk & Play. looking for details in the contours. ‘walking out’ at a leisurely pace. anxiety. During the walk I will endeavor to address wilderness. both factually and poetically. in ways that could be described as aggressive act of walking to my own ‘summit’ and the eight remote ‘ring contours’. I see myself striding out on my own. It is a term that has been used. Skye. playful and participatory walking event. Changes that may happen as you have placed one foot in front of another to get from the start. Micro navigation is a tool for planning your route and contouring is an element of this that can help you find out where you are if you are lost.. With Glencoe behind us. and gather experiences through walking to make work elsewhere. to make work in the landscape. Reflections of Wilderness and Pike Land Pond WHAT YOU ARE GOING TO GET OUT OF IT Investigating emotional being by reflecting on fear. ‘romantic’ territory. Sunder & Land Walk & Play. The terrain here is rough moorland and deep peat hags. We took great pleasure in navigating our wanderings.WALK 1 ALISON LLOYD – Contouring. from map to landscape. Ben Nevis and the Grey Corries to our left and Rannoch Moor stretching out in front of us. Its plateau like contours were chosen because I felt it could stand in for me as the Cairngorm Plateau. Sunder & Land is a site specific. and I am to stay up here a while. Alport Moor. 26 . and Glencoe.David Reason. “she canna contour” I am spending some time. Sunder & Land (we will create a participatory walk that plays with notions of splitting apart and deconstructing as well as land and belonging. there is also an alternative. I am mixing up the worlds of contemporary art with the worlds of the outdoors. and consider differentiating between being a walker and being a walking artist. marking ring contours for myself and with ‘lines of walkers’ taking them where I want them to go to mark or re enact micro navigations in the Dark Peak. is an area known for its Mountain or Arctic Hares.” -. The Living Mountain.Nan Shepherd. perhaps a place to experience wilderness that I could visit over and over again as a lone walker. remoteness. I experienced this manner of walking and making work with a hill walking friend who is a trained ‘outdoors’ woman. I think it is.