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a collection of intimate reflections by artist Ernesto Pujol, which bring together his experiences as a former monk, performance artist, social choreographer and educator.
A curated collection of papers, provocations and actions from the 'Walking's New Movements' conference held at the University of Plymouth in November 2019
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects—many of which she was able to experience firsthand—and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.
As a research methodology, walking has a diverse and extensive history in the social sciences and humanities, underscoring its value for conducting research that is situated, relational, and material. Building on the importance of place, sensory inquiry, embodiment, and rhythm within walking research, this book offers four new concepts for walking methodologies that are accountable to an ethics and politics of the more-than-human: Land and geos, affect, transmaterial and movement. The book carefully considers the more-than-human dimensions of walking methodologies by engaging with feminist new materialisms, posthumanisms, affect theory, trans and queer theory, Indigenous theories, and critical race and disability scholarship. These more-than-human theories rub frictionally against the history of walking scholarship and offer crucial insights into the potential of walking as a qualitative research methodology in a more-than-human world. Theoretically innovative, the book is grounded in examples of walking research by WalkingLab, an international research network on walking (www.walkinglab.org). The book is rich in scope, engaging with a wide range of walking methods and forms including: long walks on hiking trails, geological walks, sensory walks, sonic art walks, processions, orienteering races, protest and activist walks, walking tours, dérives, peripatetic mapping, school-based walking projects, and propositional walks. The chapters draw on WalkingLab’s research-creation events to examine walking in relation to settler colonialism, affective labour, transspecies, participation, racial geographies and counter-cartographies, youth literacy, environmental education, and collaborative writing. The book outlines how more-than-human theories can influence and shape walking methodologies and provokes a critical mode of walking-with that engenders solidarity, accountability, and response-ability. This volume will appeal to graduate students, artists, and academics and researchers who are interested in Education, Cultural Studies, Queer Studies, Affect Studies, Geography, Anthropology, and (Post)Qualitative Research Methods.
Since the early 2000s there has been an increase in artists who are walking as an essential part of their artistic practice. This book identifies the unique attributes of walking to develop a definition for walking as an artistic medium. Drawing on historical sources, such as the walks of the Romantic poets, Dadaists and Letterist/Situationist Internationals, it presents a practice based approach to walking focused on the radical memory of the medium. The book covers three contemporary organisations working to develop the artistic medium of walking—London’s Walking Artists Network, Scotland’s Walking Institute and New York City’s Walk Exchange—and looks at how these different organisation’s strategies contribute to the development of the artistic medium of walking. The book is framed by five walking exercises, and invites the reader to create a memory palace for the medium of walking as a practical exploration of artistic walking practices.
"With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — The Artist’s Way proposes an egalitarian view of creativity: Everyone’s got it."—The New York Times "Morning Pages have become a household name, a shorthand for unlocking your creative potential"—Vogue Over four million copies sold! Since its first publication, The Artist's Way phenomena has inspired the genius of Elizabeth Gilbert and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron's novel approach guides readers in uncovering problems areas and pressure points that may be restricting their creative flow and offers techniques to free up any areas where they might be stuck, opening up opportunities for self-growth and self-discovery. The program begins with Cameron’s most vital tools for creative recovery – The Morning Pages, a daily writing ritual of three pages of stream-of-conscious, and The Artist Date, a dedicated block of time to nurture your inner artist. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. She also offers guidance on starting a “Creative Cluster” of fellow artists who will support you in your creative endeavors. A revolutionary program for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.
"A book of Hamish Fulton's text pieces that both discuss and exemplify his artwork. Fulton's spare texts originate in walks he takes through the landscape. Descriptive and at times prescriptive, he describes them as "facts for the walker and fiction for everyone else." Carefully placed on the small square pages, each aphoristic piece is simultaneously present and absent as an artwork, a fact captured by the book's subtitle: 'The separation of subject (walking) and medium (text on paper).'"--Printed Matter.
Walkscapes deals with strolling as an architecture of landscape. Walking as an autonomous form of art, a primary act in the symbolic transformation of the territory, an aesthetic instrument of knowledge and a physical transformation of the 'negotiated' space, which is converted into an urban intervention. From primitive nomadism to Dada and Surrealism, from the Lettrist to the Situationist International, and from Minimalism to Land Art, this book narrates the perception of landscape through a history of the traversed city.
Slow Looking provides a robust argument for the importance of slow looking in learning environments both general and specialized, formal and informal, and its connection to major concepts in teaching, learning, and knowledge. A museum-originated practice increasingly seen as holding wide educational benefits, slow looking contends that patient, immersive attention to content can produce active cognitive opportunities for meaning-making and critical thinking that may not be possible though high-speed means of information delivery. Addressing the multi-disciplinary applications of this purposeful behavioral practice, this book draws examples from the visual arts, literature, science, and everyday life, using original, real-world scenarios to illustrate the complexities and rewards of slow looking.
This exciting new volume focuses on how humans inhabit their environment, considering 'techniques of the body' and walking behaviours to better understand the variety of embodied meanings. Its original collection of work has contributions from anthropologists, sociologists, geographers and specialists in education and architecture offering a broad readership of new, innovative and previously overlooked ideas.