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The Routledge International Handbook of

C. Michael Hall, Yael Ram, Noam Shoval

Radical twenty-first-century walkers and the Romantic qualities of leisure walking

Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315638461.ch3 Phil Smith Published online on: 07 Aug 2017

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The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 artworks, ofdestinationandmust usuallyfindaspaceforcampingatnight. One ofherwalkinguncertain “epic”a long-distancewalking whomakes artist durationalwalks, whichsheisoften during ayoke (low-energy lightbulbs) orusescostume(carrying andpails).ElspethOwenor gifts is in dialogues andclimatechange. props aboutecology Aspromptsforconversation shecarries “tractivism”. Shewalks , Jess Allenpractises mostlyrural, andengagesthoseshemeets The practices philosophical affordances inleisure andradicalwalking formutual engagement. ( andrambling)asexpressed inpopularwalking publications, andconcludesby identifying “why”The chapterthenexaminesrepresentations ofthe ofconventional recreational walking “meshwork” ofanidentifiable part withunevenly shared principles, aestheticsandnarratives. ofeveryday whoworkbased walking practitioners aroundtheboundaries arts orleisure walking; lows anelderlyman.Attheendofeachdisruption, isre-made. homeandnormativity hereturns breaks intoaswimming pooltoswim naked, climbsMountFujisymbolicallyandobsessively fol- strolls andhyper-sensitised exploration,“walking trespass, man” The stalkingandpilgrimage. collar worker are diverted intoanambiguouszonebetween by leisurely chanceandcuriosity Jiro Taniguchi’s In 1992manga, Introduction destination. For Owen, now 77, one On thedelivery of eachmessage, sheacquired anew messageandanew, previously unknown, her becomingagrandmother; itinvolved takingmessagesbetween grandparents. otherfirst-time Taniguchi’s for this chapter, mangamapstheterritory whichexaminesexamples ofUK- fantastic forme,fantastic orshown metheway ortaken me in’. pen .placedbesideallthegood thingsthatdid: ‘somebody hasprobablydonesomething acknowledges, confrontsandovercomes might hap- . .allthebadthingsthatsheimagined motivator isheracute senseoffearwhenwalking inunknown places–afearthatshe Grandmother’s Footsteps Radical twenty-first-century qualities ofleisurewalking walkers andtheRomantic (2009), passedthroughfifteenofthe UK’s countiesandmarked The Walking Man , theeveryday walks ofaconservative white- Turner(Heddon and 2010: 18–19) Phil Smith 3 37 Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 with olderpunkpublicationslike and sounds, invade andaddtotheartwork’ (Cardiff 1999: 15). to infiltratetheirconsciousnesswhileinreverse theirremembered dreams, by triggered phrases inaudioworks: projectionofherself Cardiff’s Janet reminiscent of bodystarts ‘[M]y surrogate intheterrain; immersed ments ofdesire inpatterns aninterweaving ofintimacyandotherness re-enactment. They are proposals, lessbentoncuttingpassagesthanfollowing cluestoalign- loving, Furlong’s markingandsupernatural. poemsare recognisably sited; for potentialliturgies ing widelyacrossrolesanddiscourses: fictional, independent, maternal, affectionate, exploratory, make morbidspace, choicesaroundpassion, sheoffers andfemaleagency, corporeality rang- City ofLondon;“Jack theRipper” apoem-mapcovering asimilararea to Ratherthan tours. the valorisation of authenticity and dismantling each narrative as it established itself. ofauthenticityanddismantlingeachnarrativethe valorisation asitestablisheditself. private gardens androoms, withsubjective entanglinglocalhistoriography fantasies, challenging where between acommunity andanaestheticevent, thewalk collective actionsofplanting, andwitnessinganewly engagedcoupledancing.Some- singing Therepaintings, were (channellingaSamurai warrior). stories andfantastic toldautobiographical ent timesby different residents; ofindividual houses, thehistory they narrated discussedresidents’ don andTurner 2010)andreflexively confrontingthesocialintheirown bodies). actions where shestays outsideforthe28days ofatwo-moon month and takes nightwalks (Hed- andduration,terrain but woven ecologically intothatenvironment (Owen making ‘blue moon’ ofearliermale walkingepic solojourneys artists, suchasRichard Long); notonlychallengedby WhileAllenandOwen generallywalk alone, theirpracticesare sociableandrelational (unlike the P. Smith 38 Thisnarrative Gros (2014)and others. extends backtoRomanticismandwas articulated first CoverleyJoël (2005), Henry Rachael Antony (2006), andMerlin Tomas Espedal (2010), Frédéric “canon” feature womenRebecca Solnit(2000)(theonly accountofthetoappropriately walkers), “canonical”the narratives ofWestern Europeanwalking repeated andfinessed inaccountsby arts Despitegrowing andameshwork numbers ofpractices, these walkers are stillmostlyabsentfrom The genealogies guided walks. ofwalkingplaying suchasstrolling, aroundcommon forms visiting, tourist ramblingand rural solitude andsociability, useofeveryday materials, distancefromarecognised market art and and thesustenanceofmultiplicities, placingoneselfatthemercy oftheworld, shifts between there inimmersive ismuch commonground andreflexive subjectivities, ofsynthesis thedeferral networks amongwalking artists, hasover Whilethey are 500members. distinctive practitioners, ists usingwalking intheUK.TheLondon-basedWalkingNetwork, Artists whichinformally is aretreat fromthestate, fromthethreat ofdependencyonanything otherthanherown agency. fromauthenticity whileexercising Herdrift her self-determination. she protectsherinteriority reading, herpresence isalways ambiguous. Shecommentspassionately, sherefuses tocomment; such asbiros, yet deploys andphilosophicalreferences. imagesdefyany literary Herhybrid single squatting andprotests, ofself-questioningandheightenedstates.Ford useseveryday materials tecture oftheemptyinghousingestatesshehaslived in, they speakofthe spontaneityofparties, “drifts” archi-dreaming andaneroticurgetofightback.Inspiredthroughthebrutalist by her individuals, but withouttheirpessimism.Ford’s work isfuelledby emotions, rushes, love, desiring, Thezinescollectedin LucyFurlong’s EmmaBush’s event, art Theseare“walking justfive artists” ofthehundreds andactiv- of self-designating orartists Amniotic City dériviste Village Walk LauraOldfieldFord’s Sniffin’ Glue (2011) mapsaspaceasdefinedany village, closetothe (2008), (Devon, inHarbertonford UK)was ledatdiffer- (1976–1977)atthealienationofcommunities and Savage Messiah wove to wove gether publicspaceswith (2011)share araw anger Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 ‘Why Walk?’Colin Speakman(2011)titlesachapterofhis The many“whys” ofeveryday andmargins ingly intheruptures andrecreational walking. tage ofearliermovements’ breaks fromfunctionalandidealwalking tomake theirwork increas- their walks witheitherrecreational oreveryday ambulation. The ‘new’ walkers are takingadvan- cism andrecreational walking, withover half(11)ofmy questionnaire respondents identifying (2015b) calls ‘the new psychogeography’ different relations shiftacrosssharply tobothRomanti- “new movement”practices ofthis (Smith2015)ofwalkers, by madeuppartly whatRichardson “canon”. Theambulatory ardson 2015a)have beguntouncouplethemfromtheRomantic or inacontinuum with, it. the walkers identifiedwithRomanticismandthree saw extensionof, theirwalking asacritical from theRomanticisttraditionand/orsaw theirwork asabreak fromRomanticism(7); five of words“open” ofresponse toseven andyes/no questions)over half(11)rejected any influence walkers” (18responses fromarangeofactivists, art-walkers andpsychogeographers, over 9,000 into Romanticistwalking. However,“new whenIconductedanemailquestionnaire among ciatively, oftheseiconoclasts, even adoptingsomeoftheirtactics, onlytofoldthesepracticesback SinclairMcKay (2013), Gros(2014)andjournalist philosopher-hiker Frédéric write, oftenappre- walkers, mainstream literary Contemporary “new nature writer” (2012), likeMacfarlane Robert relationgenealogical toRomanticism, implyingcontinuity despitetheirexplicitbreaks fromit. Smith 2015)are sometimesfootnoted. The more obscure Psychogeographical Associations ofthe1990s(Home1997; Bonnett2014; likepsychogeographers IainSinclair(1998, 2003), AlanMoore (2000), andPeter Ackroyd (1993). Richard LongandHamishFulton’s andliterary emergencefromthebroadercontext ofLandArt ists, andFluxus.IntheUK, Surrealists, Lettristes/situationists International thecanonincludes practiceofwalking emergedfromiconoclasticmovements initsowncritical right - like the recreational walkingproliferatedandaself-consciouslyaesthetic,as massparticipatory groups express suchideas very personally: ‘love “It iseternity and landscape were allthatIneeded. . instinctive simplicityofourcavemen .on foot’ ancestors (Marais2009: 8); themore literary one’religious 1939: (Murray 2). ‘the landmakes mystics ofsomeus’ (Evans 1998: iv), ‘[T]he impulseto gowalking .[is] a (Speakman 2011: 16), renewal’ formentaland spiritual ‘an opportunity (Lawrence natures’ (McKay 2013: 4), ofyour‘becom[ing] part surroundings, atonewiththe environment’ a ourtrue,equally valorise .asserting sense.plantingourfeetongrass ‘spiritual organic assemblageisechoedinlaterbooksonhikingandramblingthat corporeal/spiritual/geographical with renewableof eternally ‘always territory somethingfresh todiscover’ (Mais1950: 13).His elusive’ (Mais1950: 13).InMais’s construct, walking thelandscapeisanexploration/exploitation andItogether have andEgeria of Egeria gonethroughlifein search oftheWestCountry. Bothare walking ‘in thecompany ofEgeria, notalways Ihave thesameEgeria. gonethroughlifeinsearch nialism, monogamy, serial theideaof bythey citingaesthetic, usuallybegin motivation. philosophicalorspiritual reational walking surveyedNo matterhow technicaloranecdotalthey forthischapter. become, orgeographical;sophical thancorporeal andthisholdsgoodforthegeneralintroductionstorec- Recentaccountsofthelatestgenerationsradicalwalkers (EvansCollier 2013; 2012; Rich- “canonical” Thenarrative placestwentieth-century radicalwalkers andmovements ina For somewriters, recreational walking constitutesanextreme nostalgia: ‘able torediscover the S. P. B. Maisopens We Wander in the WestWanderWe inthe genius loci (1950) with a rich conflation of metaphors fromcolo- conflationofmetaphors (1950)witharich , female Christian pilgrimage andsexualconquest: pilgrimage Christian , female Radical twenty-first-century walkers Radical twenty-first-century Walk! Hisanswers are more philo- et al . 2009: 9), 39 Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 reducing sensualcontactwiththeterrain), over re-statement acorporeal ofcommonrights “Green Gym”; as tionalist exertion walkers’ (thecountryside Nordic poles, handscluttered with cluttered withobstructive representations. andconstructed unconstructed” landscapeswithwhichthe Romanticwalker istofuseelementally, are, infact, people .ethnicminorities’ (Parker 2011: 292), unintentionallyreveals“wild and how the Way Improvement Plans as ‘beat[ing] themselves upabout the lackofdisabledpeople.young Rightsof Describing sual work by ofRomanticfusionarticulated Mais(1950)andGros(2014). middle-agedpastime’(‘a gloriously (Parker 2011: 320)),“base” undoesthe transgressive andsen- walking thandie of boredom reading abouthow towalk safely’ (Gooley 2014: 3)), orrestriction tothepresent day’rambling fraternity (Speakman2011: 58), aversion (‘Iwould ratherdie torisk A walking defined by moralism(a ‘love the ofplainliving andhighthinkingwhichpermeates end .by theinevitable car’,“real world” becomes aseparationfromthe (Parker 2011: 101). pointless, thinginitself, chufffromnowhere atruncated tonowhere, andconnectedateither the fusiontowhichromanticistwalking aspires. Afootpath, whenrepresented asa ‘pretty, but symbolises’ (Coverley 2012: 11)–explicitlyandimplicitlyexpress contradictions thatinhibit significance .liesnotsomuch inthemovement ofone’s legsbut inwhatsuchmovement inhabitants (Solnit2000). Club ina of walkingYosemite initiatedby theSierra almostentirely cleared ofitsindigenous andconquest,Europe, ofrisk clubswithprinciples strain andinanecological inmountaineering in mass-based,Central andWestern oftenanti-establishment, in walking clubsoriginating by upperclassgentlemenwho.placed wagers ontheirfootmen’centuries (Speakman2011: among therootsofrecreational walking, fromsports intheseventeenth andeighteenth ‘originated out. excesses blurt Yet competition, accumulation, property andcolonialismare normativity enthusiasm forloadingthe ‘gentle art’ ofwalking withuniversal thatsuch meaningsandvirtues not human?Ofcourse, hasnointentionofimplyingany suchthings, thewriter but suchisthe 9). Babiesare nothuman?Thosewithdisabilitiespreventing themfrommoving bipedallyare ‘Why Walk?’ chapter: ‘[W]alking iswhatwe alldo. To walk isto be ahuman’ (Speakman2011: that walking remains aneconomicnecessityfortheworld’s his Colin Speakmanbegins majority. regarded walking asapleasure’ 1960: (Marples xiii), thoughsomeofthemore recent guidesnote an essentialistresistance totheevolution of ‘Homo automobiliensis’ (Speakman2011: 10). a nearuniversal (McKay practiceinitself’ 2013: ofreligious ‘form 4)ordisappearing; eitherway, iseither served pedestrianism narratives by inwhichrural parallelandcontradictory spirituality representing theimpactofwalker ontheirenvironment, adirectly localisedandsite-specific hiker walking themselves intoanonymous symbiosiswiththelandscape, significantlyunder- ‘near silentactivity’ (Speakman2011: ofacommonnarrative 15–16).Theseare ofthe parts massiveness ofthehillcompared withyour minute senseofself’), ‘tranquillity’, ‘emptiness’ and with theRomanticsublime, thewalker diminution (a canexperience ‘real senseofthe. “at-oneness”the Presence .[and]testimony to.mystical fusion’.Intheintensityofsuch tic ’ forwhomwalking is ‘a ceremony ofmystic union, thewalker beingco-present with 2010: 13). volumes suggestapsycho-physical motive: ‘nothing more therapeuticthanroaming’ (Bradbury 1936: 1), ‘[W]alking unlocksthetreasures’ (Cracknell2014:“down-to-earth” 30).Even themore now. Iam inthemidstofit”’ (Parker 2011: 120), onetoreality’‘[T]ramping brings (Graham P. Smith 40 Othertensionsemergewithin thesepublications, between but walking func- asarighteous Representations oflandscape, intheideathat andrambling –valorised ramblers ‘cultural rarer tofindanacknowledgement, Itisfar Marples’, like that Morris ‘mankind .hasseldom Gros(2014: Frédéric suchsentiments, 181)historicises associatingthemwith roman- ‘the great 14), Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 psychogeographers. psychogeographers. of recreational walking andthereparative practices ofthenew generationofwalking and artists but yet tofinditsaudience; amore receptive fieldawaits somewhere between thecontradictions forward anddrawing up’.Publishedinacollectionofacademicpapers, Ingold’s is bold, strategy ‘leave this[Long’s] view .attheroadside’ andtowalk movement‘in analternating ofcasting “whys” ofRomanticism-inflected leisure walking). Ingold(2012: 16)urgesthewalker/reader to products andsensibilitiesofLong’s practice, (includingthelatter’s tothe parallelsandsimilarities ofboththe purpose) purposes, anddestroyingunintended hybrid theiroriginal critiquing are broken constrainedmaterials and redeployed productsandideologically art moribund for 2012: 16).Ingoldsuggestsanaggressive the never-ending, contrapuntalinterweaving flows awareness’ andsensory ofmaterial (Ingold ing thereader toapprehend landscape androck.but in ‘not intheunificationofmemory Schama’s (1995)viewpoint andas ‘bait tofeed themarket infineart’, andassomehow releas- thesecommodifiedimages,re-imagine passive encouraging consumption, as the mere sloughof tothem’and notintheprocessesthatgive rise (Ingold2012: 16).Ingoldproposesthatwe in books ‘designed toappealanaestheticsensibilitythatperceives beautyinfinishedforms, inevery respect‘conforming totheromanticidealofscenicpanorama’ andtheircollection eration ofwalkers, ofwalking Richard tothephotographs Long, artist heturns despitetheir but revealing, actofwishfulthinking.Perhaps lackingadetailedknowledge ofthelatestgen- ing upachasmbetween perception andimagination’ (Ingold2012: 3). Gibson’s ‘clos[ing] thegapbetween thereality oftheworld andourperception ofit.by open- mental processesof ‘culture, convention andcognition’ (Schama1995: 12), but hebaulksat same page: 15!).Ingold(2012)favours aGibsonian, interwoven, active sensingover theabstracted imagination (inSpeakman’simagination world indifferent inamaterial torepresentations,whole-organism immersion and interpretations rock’J. Gibsonwhochampionsa (Schama1995:James 6–7)–againsttheperceptual scientist ‘landscape isthework ofthemind.builtasfromlayers asmuch fromstrataofmemory of SimonSchama, – Ingold setshistorian inrelation totheterrain theimagination whoprivileges andphilosophicaldifferences oframbling. atworkstructural inseeminglyminorcharacteristics “opposing” oflandscapeperception.Gros attempts)throughunderstandings Ingoldreveals deep to distil, andresolve personify someoftheabove contradictions(ratherthantranscendthem, as within andbetweenofwalking andleaderships organisations(Parker memberships 2011). views are complexlymanifestwithinindividualromantic andmaterialist walking groups, and contemplation. Entanglementsofsuchconservative andradical, appropriative andecological, property, andaninward-looking ambulation for relegating thelandscapetoavisualbackground poor signage.ableakand forbidding environment ofdarkness . especiallyinthehours hinterland anddemonisesouter-urban areas asmonstrouslabyrinths ‘with nopavement and diversification intourbanwalking, urbanpathsasconduitstotherural hestillcharacterises of anovelty inrecreational walking. So, whileSpeakman (2011)salutesTheRamblers’ (UK) ofStreets”’“Natural History 1939: (Murray 305), recreational urbanwalking remains something frey Murray’s 1939prediction, inspired by Graham, of ‘walks ofthe undertaken inpursuit DespiteStephenGraham’s (1936:“zig-zag” 192–207)urbanwalks ofthe1920sandGeof- Rural andurban Seekingto ‘find away beyond thesealternatives’, Ingold(2012: a very peculiar, 3)performs The anthropologist TimIngold(2012), Theanthropologist widelyonwalking, whohaswritten hasattempted Walk!, bothpositionsappear, withoutapparent contradiction, onthe détournement (a situationist-originated processinwhich (asituationist-originated Radical twenty-first-century walkers Radical twenty-first-century 41 Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 the abyss notasanextreme momentonamountainpass but asthe otherwise), thefracture ofsubjectivity (steppingbackfromtheheroic), of totherim and clinging in embracingdifference andambiguity (ofsignsdetachedfromdominantdiscourses, occultor oftheolderoccultgeneration,whom know orwritings eitherthemembers they are peculiar Loiterers ResistanceMovement, (2012),Nick Papadimitriou Gareth allof E.Rees(2013)and “new”the practicesof urban, suburban andedgelandwalkers like MoragRose (2015)andthe isatwork aswithbothRomanticsandoccultpsychogeographers while thesameimmersion in but misidentifiesthenew generationofwalkers withtheideasofaprevious one. literary For walkers andart of psychogeographers (ofwhichheseems toknow very little)andRomanticism, poeticsense’,fashioned henotonlymissestheambiguousrelation between thelatestgeneration (2013: 180)seekstobelittlethesenew ‘younger’ walkers as ‘actually romantics, intheold- –evenseeing theinvisible thatconnectthem’.WhenMcKay linesofhistorical occult–energy enthusiasm amongyounger urbanwalkers ofeachstreet . .[for]divining theoldspirit is acknowledged, ifimprecisely andbackhandedly, inMcKay’s (2013: of 180)description ‘a cult invoked anintensityofpresence equivalent toanything waking. intheliterature ofrural This Moore and 2000), inthe urbanfabric patterns whohave cryptic soughtoutanddescribed urban, occult, (Ackroyd psychogeographers late-twentieth-century literary 1993; Sinclair1998; routes asourforefathers, we are alsotravelling inprecisely thesameway’ (Parker 2011: 115). perhaps, that hikers imagining ‘walking ancientpaths.notonlyare we onexactlythesame andthemore venerableextensive deforestation quarrying ofthemoor, nineteenth-century or, nit 2000: 272), though, inthecaseofhismuch-favouredDartmoor, the Longmust beignoring walking in ‘places where nothingseemstohave broken theconnectiontoancientpast’ (Sol- is fulfilledinanabyss of fusion’ (Gros2014: 181).Grosmightbethinkinghere ofRichard Long, to scattered visualimpact’,Nature rambler in. whiletherural ‘the pure bosomofamaternal ‘urban strollerdoesn’t putinanappearanceatthefullnessofEssence, hejustlays himselfopen tothelevelbinary ofphilosophicalcategory. InhisaccountofPedestrian , the spaces asentangled, Gros(2014)elevates Frédéric recreational walking’s walking rural/urban tures (Sinclair2003;Davies 2007). through sewerage 2013)andaroundabjecttrafficstruc- andotherconcealedsystems(Garrett wastelands (Edensor2005), intoretail sites(Richardson 2013), alongroutesofculverted rivers, (Richardsonof psychogeographers 2015a), walking acrossderelict andurbanexplorers artists 119). Sucharepresentation iscontradictedintheUK’s largercitiesby regular expeditions dangerous, unpleasantandthreatening .no-goareas forpedestrians’ (Speakman2011: 118– P. Smith 42 are theworld giving aneven chance to seeyou’. “tramper” StephenGraham(1936: 207): ‘[Y]ou are notchoosingwhatyou seeintheworld, but walker’s init, immersion but by theterrain’s percept ofthewalker; somethingpre-empted by ambulant architecturesdragging alongfootpaths.Terrain becomesmeaningful, notjustby the new (Trigg phenomenology 2014); walking drawing artists chalkandmud into theirpaintings, “new” walkers adoptingneo-vitalist ‘thing-power’ (Bennett 2010), even animisttendenciesanda of many possibleexamples:“new movement” thereflexivity ofthe isrepresented by themany and five practices(withonlythesituationistsmentionedmore than three times).To take one 30 walking (individuals artists/activists orgroups), 29theorists, 25theories, 10artists/writers whom knew ofthesituationists, seven acknowledging profoundinfluence), citingasinfluential Walk (2013)), times doneanywhere. thewalk inuncertain ofuncertainty Clive (Smith2010),psychic precarity Austindevotes towhich afull-lengthmovie ( Yet,“abyss offusion” ofwalkers ifany explored onegroup an hastruly itistheoft-maligned, contrasttothe15(of18)questionnaire respondents Insharp whoregard urbanandrural Thisdiversity oftraditionisreflected andhybridity by the18questionnaire respondents (allof modus vivendi oflatecapitalist The Great Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 2000); andfictionaloutput justaslikely theirliterary asLongtoencouragepassive consumption Cowper PowysNash thanWordsworth Machen,JohnArthur andPaul and Keats (Woodcock Neo-Romanticism of more fromtheoftenoccult inherited (2013) misguidedcharacterisation) continue psychogeographers aRomanticist line(tore-directgeneration ofUKliterary McKay’s provoke trespass. Equally, thoughprobablylesswell known torecreational walkers, thefirst conventional market art and generateapassive, mentally appropriative consumptionratherthan “bait”,munity participation, productsdonot but successfullycirculate theirart within, the from thelandscapeputaconsiderabledistancebetween themandanything like leisure. of thePilgrim’s Way withoutsleep, 1991)andLong’s physical interventions inandextractions work, walking, stagesofdilution, atvarious Nevertheless, aspires. theirintensesolitude(Fulton’s art- the apotheosisofwalker’s presence and fusionwithspectacularplacetowhichrecreational regions), they walk in the commanding tradition of Caspar Davidregions), Friedrich’s Caspar they walk inthecommandingtraditionof mistake inthehiker’s themfor hikers. Immersed ofchoice(moors, terrain longtrails, mountain ney duration, andendpoints, start routemaps.Anyone meetingthemby chancemighteasily tinue tomake representations thatciteafunctionalityrecognisable toconventional hikers: jour- Richard LongandHamishFulton, generationofUKwalking ofthefirst artists, members con- Conclusion do it’ (Richardson 2015b: 250–251). but alsoprovocative, inthepositive senseof .anyone‘encourage[ing] peopletoparticipate can son 2015b: 250))over thedistillationofEssenceorPresence. Theirproductispraxis, democratic iconoclasm, andforemost ofmultiplicity (‘first .heterogeneity’ andtheirprivileging (Richard- representation (asthey usethem), sensibilitytothemediationofaestheticsand theirpostmodern nature ofeverydayperformed life, of andforms oftheirown theirdeconstruction materials from bothRomanticandoccultpsychogeographical walking; theirreflexive sensitivity tothe ‘physical enactmentofplacingone’s body’, reveals thegapthatseparatesthesekindsofwalking ment of itsweave ofsignifiers’ (Richardson 2015b: 248, emphasis). original are by]‘open andheterogenouswhatmightbecalledthe .[characterised “texts” scores andthat inpedestrian theoutfall andrepairing binaries tailored fordeconstructing of thevery landscapeyou are scrutinizing’ (Richardson 2015b: 247), andreparative, its common withthenew movement walking, art ofcontemporary isreflexive, ‘you becomepart and drifting algorithmic ‘mystical fusion’ withoccultpatterns, the ‘new psychogeography’, in movement (Richardson 2015b: throughthespaceitself’ 241, 247). into adifferent focuswhereby thatare they throughone’s overridden becomeconstructs very of binaries ‘inside/outside, theseoppositions mind/matterandnatural/manmade.bring[ing] ment ofplacingone’s inorder toread bodyintheterrain signstherein’, andaresistance to tothedominantdiscourse’, thatmightbecontrary signs containedintheterrain ‘physical enact- threat fromprivate property, its ‘focus ontheaffective’, thatexcavates‘archaeological critique the walkingrary artists: underincremental onapublicterrain theintenseinstabilityofitsgrounding TinaRichardson’s (2015a, 2015b) ‘new psychogeography’ hasmuch in commonwithcontempo- The newmovement More significantly, perhaps, whileFultonhasrecently madechoreographed walks with com- Aswell asproviding forthesecond, theentanglement(necessary reparative of part Unlike ofthe1990s, theneo-psychogeographers pulledbetween Marxianmaterialism, tedious ) required by TimIngold’s proposalforre-making walking, Richardson’s (2014: 45)phrase, No TalkingNo forSeven Days ,“heroic” 1993), atpace(Fulton walking epic journeys 120miles Radical twenty-first-century walkers Radical twenty-first-century stereographic plurality Wanderer , evoking détourne- dérives 43 Downloaded By: 10.3.98.104 At: 03:42 25 Sep 2021; For: 9781315638461, chapter3, 10.4324/9781315638461.ch3 walker .represents pure anarchy’ (McKay 2013: 214). is protest’ (Speakman2011: 151), ‘walking .willalways besubversive’ (Deakin2000: 4), ‘the trespass) ratherthan ‘in fusion’.To re-invoke recreational walking’s inrebellion: origins ‘Walking walking; towalk inthegaps(both contradictionsandaffordances inthesenseofideological for to thesideofconventions oftheirstrolling/hiking/ramblingto anagentive, non-appropriative Romanticist walking and arts ‘new nature writers’ leisure andpersuade walkers totake asmallstep accentuate andchallengethecontradictionsofappropriative, neo-colonialistproducts of alistic, contemplative andinterpretative elementsofRomantic, recreational walking. To expose, multiple contradictionsofrecreational walking; toembraceandredeploy immersive, sensual, ritu- the ‘new movement’ and ‘new psychogeographers’ are well placedtogainleverage withinthe “new walking”for withinhikingandrambling’s territories. archaeological engagement(Pearson andShanks2001)withspace; evidence ofapotentialground new walking’s thenthey comeclosetodescribing multiple layering (Hodge nance thateachindividual area has’ (McKay 2013: 9)orhow aufhebung, “fusion”. of Romantic (builtto theterrain andnatural, andurban)thatisbothanabolitionextension, rural an sive space, emptinessandnearsilence, but proposesasociability, andintenserelation ordinariness not ‘absorbed withinawiderperspective’ (Speakman2011: 16)ofnature, implacabletime, mas- recreational walking. Ratherthanconfrontation, thisablative, ‘just totheside’ oftheramble, is proximity tothegazeandethosofleisurely stroll, attimesborrowingfromthepracticesof walking exploratory ratherthanofcommoditiesfornew markets. tofurther to encourageothers ing itself, ofdocumentation, itoftentakes theform handbooksandexemplary objectsdesigned situationists; but withouttheirretreat fromengagement.Where there isproduct, otherthanwalk- hasmoreLettristes/ incommonwiththeiconoclasticbreakgeographers) oftheInternational effect,their inspiring atoddswiththis). (though IainSinclair’s walk-based bookslike P. Smith 44 Antony, R.andHenry,J. (2005) Ackroyd, P. (1993) References Bonnett, A.(2014) Bennett,J. (2010) Cracknell, L.(2014) Coverley, M.(2012) Coverley, M.(2006) Collier, M.(2013) J.Cardiff, (1999) Bradbury,J. (2010) Lonely PlanetPublications. Given positioning, theirstrategic theeveryday valorising andthe ‘to theside’ oftheaesthetic, So, when writers on rambling describe their experiences of So, theirexperiences onramblingdescribe ofemotionalreso-‘different sorts whenwriters This ‘new movement’ ofwalkers placesitselfinambiguousandcritical, but notdismissive, Thelatestgenerationofperformative, walkers postmodern (artists, activists andpsycho- of path or soil . . . a sense of history or of personal associations. orofpersonal of pathorsoil.asensehistory subtle changesandmoodsoflight, sounds, scentandsmells, thelieoflandandtexture perceptions blend.elusive sensory various qualitiesthatgave aplaceitsown identity. . The Missing Voice , London: Artangel. Vibrant Matter Walk On:Walking 40Years ofArt , Sunderland, North. UK: Editions Art Off theMap , London: Press. Aurum Hawksmoor , Harmondsworth: Penguin. Railway Walks , London: FrancisLincoln. The Art of Wandering of The Art , Harpenden, Herts: OldcastleBooks. 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Theatre/Archaeology , London: Routledge. , New York: Viking. The UK Trailwalker’sThe UK Handbook The Archaeology of the Contemporary WorldThe Archaeology oftheContemporary Walking InsideOut: Psy- Contemporary British Radical twenty-first-century walkers Radical twenty-first-century Imagining Landscapes Walking InsideOut: Contempo- ,Cumbria: Milnthorpe, Walking InsideOut: , Farnham, Surrey: Performance Performance , Oxford: 45