WALKING WOMEN a Study Room Guide on Women Using Walking in Their Practice
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Walk May Talk Books
Walk May Talk A Month of Walking as Artistic Practice Curated by Eylem Ertürk and Bernd Rohrauer Books Shared Walks www.sharedwalks.com 1 Direkter Urbanismus B. Holub 2013 31 Spaziergangswissenschaft in Praxis: Formate in Fortbewegung M. Brauner, B. Weisshaar 2013 2 Artist Book: found, set, appropriated B. Holub 2010 32 Artist Book: Biographie of the walking woman: M. Snow 3 Einfach Losgehen: Vom Spazieren, B. Weisshaar 2019 de la femme qui marche, 1961–1967 2004 Streunen, Wandern und vom Denkengehen 33 The Practice of Everyday Life M. de Certeau 4 Radical Walking Tours of New York City B. Kayton 2003 34 Janet Cardiff - the walk book M. Schaub 2004 5 Walking through Social Research C. Bates, A. Rhys-Taylor (Ed.) 2017 35 The interventionists : users‘ manual for the creative disruption N. Thompson 2005 6 Graue Donau, Schwarzes Meer: Wien Sulina Odessa Jalta Istanbul C. Reder, E.Klein 2008 of everyday life 2004 7 The art of walking: a field guide D. Evans 2012 36 Breathing Cities: the Architecture of Movement N. Barley 8 Lob des Gehens D. Le Breton 2015 37 Gehen nach Abramović (Diplomarbeit) N. Stalzer 2000 9 Urbanografien: Stadtforschung in Kunst, Architektur und Theorie E. Krasny 2008 38 This is not an Atlas orangotango 2007 10 Walking: One Step At a Time E. Kagge 2019 39 Gehen in der Wüste O. Aicher 2018 11 Walking Art Practice: Reflections on Socially Engaged Paths E. Pujol 2018 40 On Walking P. Smith 1998 12 Random Walk E. Weizman, C. Nicolas, M. Cousins 1998 41 Walking artists: über die Entdeckung des Gehens R. -
THE PINNING STONES Culture and Community in Aberdeenshire
THE PINNING STONES Culture and community in Aberdeenshire When traditional rubble stone masonry walls were originally constructed it was common practice to use a variety of small stones, called pinnings, to make the larger stones secure in the wall. This gave rubble walls distinctively varied appearances across the country depend- ing upon what local practices and materials were used. Historic Scotland, Repointing Rubble First published in 2014 by Aberdeenshire Council Woodhill House, Westburn Road, Aberdeen AB16 5GB Text ©2014 François Matarasso Images ©2014 Anne Murray and Ray Smith The moral rights of the creators have been asserted. ISBN 978-0-9929334-0-1 This work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 4.0 UK: England & Wales. You are free to copy, distribute, or display the digital version on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. Designed by Niamh Mooney, Aberdeenshire Council Printed by McKenzie Print THE PINNING STONES Culture and community in Aberdeenshire An essay by François Matarasso With additional research by Fiona Jack woodblock prints by Anne Murray and photographs by Ray Smith Commissioned by Aberdeenshire Council With support from Creative Scotland 2014 Foreword 10 PART ONE 1 Hidden in plain view 15 2 Place and People 25 3 A cultural mosaic 49 A physical heritage 52 A living heritage 62 A renewed culture 72 A distinctive voice in contemporary culture 89 4 Culture and -
Inheriting the Yugoslav Century: Art, History, and Generation
Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 ABSTRACT Inheriting the Yugoslav Century: Art, History, and Generation by Ivana Bago Department of Art, Art History and Visual Studies Duke University ___________________________ Kristine Stiles, Supervisor ___________________________ Mark Hansen ___________________________ Fredric Jameson ___________________________ Branislav Jakovljević ___________________________ Neil McWilliam An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2018 Copyright by Ivana Bago 2018 Abstract The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non- alignment, and -
Emotive Terrains
Emotive Terrains Exploring the emotional geographies of city through walking as art, senses and embodied technologies Vasileios Psarras Thesis submitted to Goldsmiths University of London for the Degree of Ph.D. in Arts and Computational Technology 2015 Declaration I declare that the work presented in this thesis is my own. Reference to the work of others has been cited and indicated throughout. Vasileios Psarras 2 Acknowledgements I am deeply thankful to my main supervisor Prof. Janis Jefferies for her attentive supervision, significant insights and help along this fascinating and difficult journey. Her distinctive guidance and encouragement of my interdisciplinary writing provided this thesis’s 21st century flaneur with the confidence to keep walking. I also thank my second supervisor and Assoc Prof. Lanfranco Aceti for his helpful feedback on my professional steps and our challenging discussions over these three years. I would also like to thank the AHRC for having awarded me with funding (2013- 2014), the Goldsmiths Graduate School and the Department of Computing (GDS). I would also like to thank a number of people that I have talked and collaborated across different platforms and levels: Asst. Prof. Angeliki Avgitidou (Aristotle University), Prof. Paul Coldwell (Chelsea College of Arts) for listening to my very first intentions, Dr. Eleanor Dare (University of Derby), Daphne Dragona (University of Athens), Dr. Dalila Honorato (Ionian University), Dr. Vicky Hunter (University of Chichester), Rocio von Jungenfeld (University of Edinburg), Dr. Eva Kekou (Athens), Anastasis Maragiannis (University of Greenwich), Christian Nold (UCL), Tadgh O’Sullivan, Stacey Pitsilides (Goldsmiths), Dr. Tina Richardson (Leeds), Dr. Phil Smith ‘mythogeography’ (Plymouth University) and the research-curatorial platforms of The Thursday Club (Goldsmiths) and Something Human (London). -
Reflections on the Slow Marathon
Reflections on the Slow Marathon The story of the courier Pheidippides’ original run from the Battle of Marathon to Athens in 490BCE, to announce Greek victory over the invading Persians, is well known. After completing the twenty-six-mile journey Pheidippedes, as legend has it, pronounced ‘Joy, we’ve won!’ and promptly died on the spot. With his ultimate act Pheidippedes marked out the territory for every subsequent marathon, each one run, whether knowingly or not, in his honour. What if he had walked? ***** As a first-time participant in the Berlin marathon in 2011 Deveron Arts’ director Claudia Zeiske became disillusioned by the legacy that has grown up in Pheidippedes’ name. In the run up to the event the competitors (many of whom of course enter in a spirit far removed from competition) were submitted to its organisational circus, culminating in a drawn-out registration event that entailed trudging for kilometres through a maze of sponsors’ tents and merchandise sellers laid out in the (now defunct) Tempelhof airport, like a twisted alternate reality where IKEA does marathons. During the race Claudia witnessed the inevitable agonies of runners reduced to crawling, and others, even less fortunate, unable to finish through injury or exhaustion, being carried from the route through the sea of plastic cups and bottles that had been discarded in the streets.1 The whole thing seemed futile, even barbaric. And yet, something had impelled her to do it, just as it had impelled the 1 There’s a surprising shortage of information available about the environmental impact of large scale marathon events. -
Annual Report 2013-14
Annual Report 2013-14 Annual Report 2013/14 In 2013/14 the Deveron Arts programme expanded into the Walking Institute, running in parallel with The town is the venue programme, this encompassed the following complementary programmes focusing on the culture, life and wellbeing of the rural town of Huntly and its place in the world. 1. Organisation and Management 2. Projects and Programme • Faceloop with Celia-Yunior • Slow Marathon : Cabrach to Huntly • Fernweh with Mary Jane Jacob • Lines Lost with Stuart McAdam • Pride of Place with The Caravan Gallery • Mackay of Uganda (research) • Hielan’ Ways - In the Footsteps of Nan Shepherd with Simone Kenyon - Symphony Way with Paul Anderson - The Golden Mountain with Alec Finlay - Hielan’ Ways Histories with Ron Brander • Aberdeenshire Ways with Jacques Coetzer and the Caravan Gallery • Cultural Health Visitor with Catrin Jeans 3. Other Projects and Events • Walking Institute • Other Events • Town Collection • Creative Place Award 4. Capital Development and Purchases 5. Publications & CD Launches 6. Networking and Training 7. Funding and Thanks Appendix: Media work Deveron Arts: the town is the venue 3 Annual Report 2013/14 1. Organisation and Management Curating and Programming 2013/14 formed the second year of Deveron Arts’ Hospitality programme which encapsulates: 1. Travel: Walking and other forms of Slow Travel 2. Hosting: Food, Eating and Accommodation 3. Understanding: Language and Communication This programme was successful in gaining financial support (Projects forming Programmes from Creative Scotland) and finding partnership collaborations locally and internationally. Funding from the EU Leader fund continued to fund the initial stages of the Walking Institute which has been set up by Deveron Arts/the town is the venue as a unique, year round centre of excellence within the walking & art discourse. -
Walking Institute
Walking Institute A walking appreciation initiative to explore, research and celebrate the human pace for and with people from all walks of life. VISION DOCUMENT June 2013 WHAT is the WALKING INSTITUTE ABOUT? The Walking Institute has been set up by Deveron Arts/the town is the venue as a unique, year round centre of excellence within the walking & art discourse. The Walking Institute aims to develop a walking appreciation programme for and with people from all walks of life. It will do this by engaging people in a range of challenging, creative and accessible walking activities and discourses, addressing issues and opportunities in relation to health, environment and rural economic development through activities which link walking with art and related disciplines 1. Whilst core development will happen in Huntly, the aspiration of the programme is to spiral out geographically from this centre of both action and research to include satellite events and collaborations elsewhere. This will emerge through the development of relationships with artists and other partners working with both, rural and urban as well as local and global contexts, engaging critically with the walking & art discourse within an international perspective. The Walking Institute ’s principle is: ‘all walking is great’. Hence we will endeavour to encompass as much variety in the programme as we can for both potential and seasoned walkers, reaching out to the walking arts network, the outdoor experts, dog walkers, travel writers, people who may find walking activities challenging and many other individuals and groups. Within these local and global perspectives we have two main aims: Research & Mapping: to research and map the concepts, philosophies and notions surrounding walking and linking them to the walking & art discourse. -
The Art of Now: WOMEN WHO WALK
The Art of Now: WOMEN WHO WALK Here is a link to the radio 4 programme, devised by Dr Jo Norcup and Geography Workshop productions in conjunction with Michael Umney of Resonance FM Production. First transmitted by BBC Radio 4 at 4pm, Monday 8th October 2018. Duration 28 minutes. https://www.bbc.co.uk/programmes/m0000nmn This document introduces you to wider references and readings based on the people and discussions within the BBC Radio 4 programme The Art of Now: Women Who Walk, and enables a starting point from which you can individually or collectively find out more. It also offers up resource links for teaching in the classroom and for seminar discussions. Further references: Women Walking Artists speaking in the programme. • Professor Deirdre /Dee Heddon https://www.gla.ac.uk/schools/cca/staff/deirdreheddon/#/publications,researchinter ests (With Misha Myers) The Walking Library https://walkinglibraryproject.wordpress.com • Lucy Furlong http://digitalitch.co.uk/LFwordpress/ (With Alison Fure) Tolworth and Richard Jeffries https://lucyfurleaps.wordpress.com • Dr Morag Rose http://thelrm.org/morag-rose https://www.liverpool.ac.uk/engage/events/2017-2018/beyond-the-pedestrian/ • Amy Sharrocks https://www.artsadmin.co.uk/artists/amy-sharrocks http://www.museumofwater.co.uk/amy-sharrocks-water-museum/ • Kubra Khademi http://kubrakhademi.org • Doon Mackichan (presenter) http://www.hamiltonhodell.co.uk/talent/doon-mackichan/ © Dr Jo Norcup / Geography Workshop Productions Ltd. 2018. Reference: Norcup, J. (2018) The Art of Now: Women Who Walk - Further reading resource booklet. GWPL. Production credits Michael Umney – main production (recording / sound editing) on behalf of Resonance FM Productions http://www.hearsayfestival.ie/michael-umney/4590389044 and Dr Jo Norcup (deviser of programme and script/programme advisor) on behalf of Geography Workshop Productions Ltd. -
Reflections on the Slow Marathon
Reflections on the Slow Marathon By Alan Macpherson The story of the courier Pheidippides’ original run from the Battle of Marathon to Athens in 490BCE, to announce Greek victory over the invading Persians, is well known. After completing the twenty-six-mile journey Pheidippedes, as legend has it, pronounced ‘Joy, we’ve won!’ and promptly died on the spot. With his ultimate act Pheidippedes marked out the territory for every subsequent marathon, each one run, whether knowingly or not, in his honour. What if he had walked? ***** As a first-time participant in the Berlin marathon in 2011 Deveron Arts’ director Claudia Zeiske became disillusioned by the legacy that has grown up in Pheidippedes’ name. In the run up to the event the competitors (many of whom of course enter in a spirit far removed from competition) were submitted to its organisational circus, culminating in a drawn-out registration event that entailed trudging for kilometres through a maze of sponsors’ tents and merchandise sellers laid out in the (now defunct) Tempelhof airport, like a twisted alternate reality where IKEA does marathons. During the race Claudia witnessed the inevitable agonies of runners reduced to crawling, and others, even less fortunate, unable to finish through injury or exhaustion, being carried from the route through the sea of plastic cups and bottles that had been discarded in the streets.1 The whole thing seemed futile, even barbaric. And yet, something had impelled her to do it, just as it had impelled the 1 There’s a surprising shortage of information available about the environmental impact of large scale marathon events. -
Stephanie Hemelryk Donald Is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales
P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Stephanie Hemelryk Donald is Australian Research Council Future Fellow and Professor of Comparative Film and Cultural Studies at the University of New South Wales. Christoph Lindner is Professor of Media and Culture and Director of the Amsterdam School for Cultural Analysis at the University of Amsterdam. P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Inert Cities Globalization, Mobility and Suspension in Visual Culture Edited by Stephanie Hemelryk Donald and Christoph Lindner P1: KAE Trim: 156mm 234mm Top: 36pt Gutter: 50pt × IBBK090-FM Vecchio May 26, 2014 17:1 Published in 2015 by I.B.Tauris & Co. Ltd 6SalemRoad,LondonW24BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Stephanie Hemelryk Donald and Christoph Lindner, 2014 The right of contributors to be identifed as the authors of this work has been asserted by authors in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of -
1 Pedestrian Performance
Pedestrian Performance: A Mapped Journey Volume 1 of 1 Submitted by Kristofor James Darby to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama In December 2012 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 ACKNOWLEDGEMENTS This thesis could not have materialised without the unwavering support of a number of people who have all assisted me in my writing. First and foremost is my supervisor, Stephen Hodge, who gave me the freedom to make my own way through my research, whilst making sure that I did not wander too far off the beaten track. Both he and Dr Jane Milling have proven a perfect partnership in helping me ascertain points of correlation between the landscapes of theatre and performance studies. Within the Drama Department at the University of Exeter I must thank Dr Sarah Goldingay for helping me in drafting my initial proposal three years ago; Dr Cathy Turner for providing extra details concerning Wrights & Sites; Phil Smith for the mythogeographic walks; Dr Piotr Woycicki for introducing me to mirror neurons and Professor Graham Ley for convincing me to do a PhD in the first place. I must also thank my fellow PhD students for their support: Solomon Lennox, Erin Walcon, Ilaria Pinna, Richard Feltham, Aqeel Abdulla and Jens Peters. -
Towards a Sympoietic Art Practice with Plants L M
TOWARDS A SYMPOIETIC ART PRACTICE WITH PLANTS L M CHARLSTON PhD 2019 1 Towards a Sympoietic Art Practice with Plants LINDA MARY CHARLSTON A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Manchester School of Art Research Centre Faculty of Arts and Humanities Manchester Metropolitan University 2019 2 Towards a Sympoietic Art Practice with Plants ABSTRACT At a time of crisis in human relationships with the natural world, this practice-as-research project comprises selected artworks and a written thesis investigating co-creativity with plants. The openly exploratory and speculative research scrutinises changes to plant-artist relationality as I develop a sympoietic art practice with plants, conceived as ethically accountable, co-creative ‘making-with’ plants, inspired by Haraway’s 'naturecultures' (2016). Sympoietic practice engages affirmatively with posthuman ethics of non-exploitative, egalitarian and ecologically situated practice, re-conceptualises plant-artist relations and makes way for accepting plants as agentially-active, co-expressive partners (Bennett, 2010, Marder, 2013). Manifestations of sympoietic art practice explored through co-creative processes of growing, making and walking with-plants contribute to the variegated nature of practice-as-research by reaching out in multiple directions to connect feminist and posthumanist theories (Barad, 2007, Braidotti, 2013, Alaimo, 2016) with artistic research (Schwab, 2018), poetic encounters, science and everyday life. In response to sympoietic concerns, temporary assemblages of interconnected events add participation, performativity and ecological awareness to the poetry and production of the artist-book. Sympoietic art processes have revealed multiple hindrances to my relationship with plants despite artistic closeness.