"Go Your Gait! Artistic Research on Walking and Listening" by Katrinem
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go your gait! Artistic Research on Walking & Listening by katrinem I am a walker and listener. nvestigating sound and space has long been an integral part of Walking is the most individual form of mobility in terms of its direc- my artistic work. I started early with comprehensive training in tion and speed. Sidewalks, pedestrian areas, traffic-free roads and classical music, studying violin, viola and composition. I played squares are the public spaces most preferred by those navigating a Iin orchestras and ensembles and focused on spatial performances city on foot, marking its pavement and paths with the pulses of their and new performance practices. I have always had a special relation- steps. ship with our most natural form of locomotion – walking. Long The interesting thing about getting to know a city on foot is walks and hikes with my family were a vital part of my childhood. that you never leave the large, perceptible urban setting. Even all the schools I attended were in walking distance. Walking Meanwhile, a slow pace of movement enables a high attention and Listening is not only my artistic approach, it is also my way of level for sensory impressions – ideal conditions for exploring a life. It is how I experience my environment and how I explore new city from an aural point of view.2 sites. For over 15 years now I have been investigating the walkability of cities and their associated spatial perception, through my work Everything that we experience around us is structured by the rhythm series go your gait! This exploration results in various types and styles of our own gait. A gait is a person’s most distinctly individual pattern of artwork: performance, composition, site-specific installation and of movement3. Audible in the sound of footsteps, our rhythm exhibition, workshop, photo collection, audio-visual composition, emerges from the regularity with which we place one foot in front text and scores. of the other. We reproduce this individuality almost exclusively in I am particularly interested in the extent to which we are able to public, where one person’s step rhythm joins in polyrhythm with that find spaces for walking in our urban surroundings, why and how of another. While the sound of the rhythm often becomes masked by we use them, and how conscious we are of their environmental a city’s background noise, the rhythm can be sensed from the visible influences on us. This interest brought me to various questions. An motion. Seeing someone’s gait can easily evoke an imagined sound essential one is: How does the built, controlled, and organized urban of the step rhythm in our mind, as we are so familiar with the act of environment and its atmospheric qualities influence our walking walking. The ways once walked leave no visible trace, but crisscross behavior and perception of space (in public space)? I have been over the city like an invisible network. At all points where these investigating this question based on human auditory perception, by crossings accumulate, we find vibrant city spaces. attentive and conscious listening during walking in urban space. To Each placing of our foot upon the ground can be thought of as a do so, I have developed various methodologies, which I will describe fundamental tone that operates like a chain reaction on the body: below using a few selected art projects. What seems most essential to Mass upon mass. Accordingly, the firmness and character of the me is to constantly sensitize myself: to refine my walking technique ground play an important role in our foot’s stability at the moment and footwear and to open my own perception of auditory space as of placement. The footwear used not only serves as a mediator in wide as possible. this meeting of foot and ground but creates a new set of conditions, In 2012, I took part in the project Finger Exercise, initiated by the depending on its material, fit and function – for example, high heels, Austrian curator and artist Silvia Keller, in which each artist was flip flops, boots, sneakers, etc. When we are purchasing shoes how allocated one month for a self-chosen daily exercise in the field of much do we pay attention to the way they sound in our environment her or his artistic praxis (for instance, finger exercises on the piano). and how they seem to our own ears? After checking the fit and look My intention was to pause for a few minutes every day of April, close of the selected shoes it is unconventional to test their sonic character my eyes and try to hear as far away as possible. I did it sometimes as well, e.g. by going for a “test walk” outside the store. How impor- during the day, whenever I thought of it. I did it while I was eating, tant is it to us to hear our own steps and to like their sound? cooking, in the elevator, on the street, while shopping, on the plane... Alongside our footwear, there are various factors, usually occur- I also did this exercise on a flight to NY, which turned out to be a ring in combination, that influence our walking movement in urban bad idea when you can’t escape a constant loud background noise space and the chosen size and speed of our steps. These include: for several hours. Previously, I thought I was always listening well, • individual intention and condition of health but with this daily exercise, I became particularly aware of our brain’s unconscious ability to fade out unwanted input. Since then, it has • whether a path is being followed for the first time or is a been a fixed exercise for me, but I have also developed it further familiar path within practical workshops, such as with schoolchildren where we • architectural structures examine their routes to school, or with adults where we explore their everyday paths... • the materiality, appearance and acoustic quality of the Before I describe observations from my artistic research, I would surface underfoot like to talk more generally about walking in urban space. The liveli- • temperature, weather and light conditions ness of a city is reflected in the activities of its inhabitants: how, when and where they move around in it 1. Most big modern cities • direct and indirect activities in the spatial surroundings are perfectly designed for motorized traffic but not for pedestrians. (other pedestrians, traffic, etc.) 15 • sonic and visual events (e.g. outdoor sound systems, bring their rhythms into the picture. At the end of the video I walk billboards, video screens) through the picture myself. The picture detail is chosen in a way that only the legs can be seen. The image to the left is the score. • walking alone or in groups Throughout the entire length of the work, my own step is constantly Each of these factors could be discussed in length. I will point to audible and only synchronizes itself at the end when I myself walk just a few aspects in relation to projects and exhibitions below, through the picture. such as: narrow revolving doors in Midtown Manhattan (Path of My step sounds were also used to sonify the steps visible on Awareness_NY); stairs and obstacles on the walkways in Tehran the video, adjusted in tempo and length in order to emphasize the (Path of Awareness_tehran); pushbutton-controlled traffic lights rhythmic differentiation of our step sizes and speeds. for pedestrian in Boston (Path of Awareness_boston); step pattern (Place Study Gendarmenmarkt) or how the built space strengthens or weakens wind conditions (my Gait_carré). GENDARMENMARKT BERLIN With the following selection I offer an insight into artworks based (Place Study, 2007) on my artistic research on walking and listening, emphasizing two The audio-visual work Gendarmenmarkt was created in 2007. In aspects: observing a site (part1, Platzstudien – Place Studies), and this work, all walking movements at the Gendarmenmarkt in Berlin personally experiencing space while walking (Path of Awareness, are sonified according to a compositional principle that I determined my gait!). Path of Awareness is described in more detail, since in my according to the grid pattern made by paving stones on the square. opinion this format can comprehensively show very different aspects The “players” go their ways, creating audible traces that begin to of my interests. mix with and against each other. The rhythms and structures emerg- ing for a few moments from individual gaits occupy the square for Go Your Gait! Part 1 (2004) a short while, then release it. The sine tones used to sonify footsteps This is a five minutes long audio-visual composition. Every 30 are distinct from the familiar stepping sound, having an abstract seconds, “actors” go to a section of 30 meters. They cross the section technical simplicity, and thus direct focus on the rhythmic aspect. of meadow-path-water visible to us in the video image. Due to their Duration, force of impact, dynamic and panning are used as differ- different walking speeds, the entrance to the picture is almost always entiating parameters. at a different time. Alongside the “actors”, other random walkers vimeo.com/188150869 vimeo.com/55447227 16 GANGARTEN (Place Study, 2007–2009) etc.), streams of movement, and residents’ gaits. The polyrhyth- Out of experiences gained in Gendarmenmarkt, the project mic footstep patterns are interwoven with specific “city sounds” GANGARTEN (ways of walking) was developed, in which Linz was encountered during my stays, such as the sound of the ocean; an air reflected through its partner and friendship cities. For this, I visited conditioner in Albufeira – aptly named “Silencys”; the squeaking of sixteen cities in a timeframe of two years: Albufeira, Braşov, Budweis, e-bikes in Chengdu; the bells of the temple, or the seaweed toaster at Chengdu, Gwangyang, Halle (Saale), Linköping, Linz on the Rhine, the market in Gwangyang, and so on.