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83 pages

English

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54 intriguing ideas for different ways to take a walk - for enthusiasts, practitioners, students and academics.

Sujets

Walking

Informations

Publié par	Triarchy Press
Date de parution	24 juillet 2015
Nombre de lectures	1
EAN13	9781909470736
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,0375€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Published in this first edition in 2015 by:
Triarchy Press
Axminster EX13 5PF, England
+44 (0)1297 631456
info@triarchypress.net
www.triarchypress.net
This complete edition © Clare Qualmann and Claire Hind, 2015
Each contribution, including any images in it, remains the copyright
© 2015 of the named author(s), unless otherwise stated.
The right of each contributor to be identified as the author of their contribution has been asserted by them under the Copyright, Designs and Patents Act 1988.
All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means including photocopying, electronic, mechanical, recording or otherwise, without the prior written permission of the publisher.
A catalogue record for this book is available from the British Library.
Paperback ISBN: 978-1-909470-72-9
ePub ISBN: 978-1-909470-73-6
pdf ISBN: 978-1-909470-74-3
This book is an output of the AHRC funded ‘Footwork’ project, part of the Walking Artists Network, with additional support from the Centre for Performing Arts Development at the University of East London.
www.walkingartistsnetwork.org
www.footworkwalk.wordpress.com
www.uel.ac.uk/cpad
Front cover photo by Claire Hind, taken during a Footwork research group walk toward Lelant, St Ives Bay, 2015
Ink drawings (before ‘Ways’ 9, 29 and 45) by Clare Qualmann
Other ‘Ways’ illustrated by their authors

Dear wanderer,
The many and varied ways to wander detailed herein range from the geographically specific to the generally located. Where these specificities exclude you please feel free to adapt or reimagine to suit. We advise that you prepare for your wander so please note that they sit somewhere on a scale between dream and reality, certain routes may have changed and others may be close to the edge.
So, take care and consider your safety and the safety of others before venturing out. Enjoy.

Clare and Claire
Contents
1. River Rural; River Urban
2. Feeling and Touching: a tactile-kinaesthetic walk
3. For years, I…
4. Crossing Paths/Different Worlds in Abney Park Cemetery
5. Teleconnection Teledirection
6. I Cannot See…
7. Off-the-Grid…
8. Going in Circles
9. Walk with me…
10. The Underpass
11. Maternity Leaves
12. Perambulator
13. Walking In Drains
14. Notes to the novice pedestrian
15. Thank you for…
16. Following Forgotten Footprints
17. Take a piece…
18. Step-By-Step
19. City Centre
20. Play the City…
21. Walking with my Dog
22. Walk as you…
23. Long Shore Drift…
24. Walker
25. The Closer Walk
26. Walking Ideas
27. Folding Paper Listening Trumpet
28. Google the name…
29. The Best of all Possible Places
30. The A-Game
31. A Walk for Seaton Carew Beach in Hartlepool at Low Tide
32. How to Wander Lonely as a Cloud 3
33. Chip Walk
34. Walking With Limited…
35. Walking in a Gallery
36. Transecting
37. Radically Walking
38. For the River Valley
39. Perhaps we are like stones
40. On the Maunga
41. In One Step
42. Intertidal Walking
43. Watch people and…
44. From: Clare Qualmann…
45. The city as a site of performative possibilities
46. Wolf Trot
47. Love at First (Site)
48. Materials: Tennis ball…
49. Waylaid Walking (inspired by Walter Benjamin's practice)
50. Psithurism n. the…
51. A Certain History
52. Nostalgic and Pre-Nostalgic…
53. “Welcome to…”
54. Ways to reflect
Authors
About the Publisher
1. River Rural; River Urban
An Urban/Rural psychogeographic exploration.
To be done either in one day or over a period of several days or as an ongoing research project.
Choose a river in a city or a town.
Decide where the most significant point of the river is in the urban area.
Find out where the river’s source is.
Go to the source. Take a photograph or make a drawing of the source. Write notes about the source. Note any ambiguities as to what is the actual source.
Walk from the source to the point on the river in the town or city you have chosen. (This can be done in one go or in sections). Take photographs, make drawings, take notes as you go. Note how you have to take diversions around private land.
Reflect on the fact that there are parts of the river you will never see.
When you arrive at your town or city river point take a photograph, make a drawing and take notes.
Reflect on the fact that the water has come from the source to this point and flows on.
Note how the journey of the river changed as you walked along it.
Note how your journey changed as you walked along it.
Compare the source with the end point.
Now walk the route in reverse.
Repeat, doing the same from town/city river to mouth of river.
2. Feeling and Touching: a tactile-kinaesthetic walk
> A very simple way in is to start by feeling the ground beneath your feet. Notice how you shift your centre of gravity, what your body does to keep your balance or soften the impact of each step in response to different surfaces – concrete, paving, turf, mud, ice, sand… You don't have to change how you walk, just take an interest in what's going on.>>
>> Then you can experiment – look out for different surfaces to walk on, try different speeds or spread your weight between a soft and a hard surface or a slippery and a bumpy one. Avoid nothing; take an interest in everything: even dogshit can be interesting to walk on if you have an experimental approach.>>>
>>> Another simple activity: touch the surfaces you see. Use your hand or face or the skin elsewhere on your body (easier in summer) to sample texture, hardness and temperature. You could touch everything (which will definitely slow down your walk) or sample surfaces from time to time. On an everyday urban walk I can find different sorts of brick, bark, metal, moss, stone, leaves, concrete, earth, sand, blossom, wood, glass, fabric, standing water, running water, cat, dog, rubber, plastic… How long can your skin hold the memory of what you've just touched?>>>>
>>>> Or: try imagining the feel of everything you see, and check the accuracy of your sensory imagination from time to time by touching something. If thereÊs a mismatch, does that matter? With practice, perhaps your brain will start directly converting the visual to the tactile and you can feel the landscape on your skin without thinking.><|||

From: Claire Hind (C.Hind)
Sent: 21 May 2014 07:26
To: Clare Qualmann (c.qualmann)
Subject: Ways to Wander project
----------------------------------------------------
Dear Clare,
Walking is both a controlled, limited and rule-based activity and a free, spontaneous and improvised experience. Rebecca Solnit's Wanderlust calls upon the seriousness of walking and also its playfulness.
My childhood consisted of repetitive acts of hiking in the mountains of Wales and always with a task of getting around a lake, or scrambling to the top of a rock - but never a summit, as a family of 6 we could never quite make it that far – because the clouds came down and the weather changed pretty rapidly, I recall. Still, we set off every week even in the worst of weathers and we hiked with purpose but with jokes and laughter, sometimes tears. I remember once being scared of some boggy terrain convinced it was sinking sand and I prayed that the soggy landscape underneath my feet wouldn't feed me to the mud troll. At the age of 7, the site of Tryfan, always dark, perpetually in shadow towering above me, tall and fierce was both exciting and terrifying like a sleeping dinosaur that could wake at any moment.
Solnit's walking that wanders so readily into religion, philosophy, landscape, urban policy, anatomy, allegory and heartbreak shaped my past and paved my future, if there is ever a pilgrimage then it is the walk that slips between Ludus (serious play) and Paidia (free play) – which Roger Caillois talks about in his book Man, Play and Games.
Claire
3.
For years, I have used the metaphor of wandering to help explain how I understand the central creative process I believe to be at the heart of design. In using the word design, I wish to include artists, musicians and architects: the word design refers to a shared creative process.
Imagine the following. You go into the countryside and start walking. You maybe have a small hamper with you, or some food in a rucksack. You walk along a bit, and after a time see something you think you might walk towards. In a while, you change your mind and walk off the path through some trees, with no idea where you’re going. Well, you’ve had no idea where you are going all along: you are wandering. You find a path, follow it, come to a junction and decide to go one way or the other. After a bit you decide to go and take the other branch. Perhaps you can still see that something, but probably not.
So it goes on.
After a bit you come to a place that you just like. Perhaps the sun is out. You are quietly by yourself. It’s peaceful, birds sing, the grass is inviting.
Somehow, without any particular criteria, perhaps without even realising it, you feel this is the place to stop. You sit down, get out your picnic, eat and drink. This is wonderful. You realise that your wandering has acquired a purpose: to arrive at this place. You can look back at your wandering journey and pretend it was logical and sensible and ordered! You did not know it before and you could not have described it, But it’s right. Everything fits in place. The walk takes form as leading you here.
If that sounds to you like a metaphor for design, I am glad.
4. Crossing Paths/Different Worlds in Abney Park Cemetery

Upon entering the Victorian gates on Stoke Newington High Street, ignore (or not) the Strong Brew-favouring vagabonds who have made the right-hand corner their local. Walk with me towards the overhanging gloom, tread the worn path that takes you to the left. There is such a clash of histories in this anachronistic space. Cro