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+ | ==== title ==== | ||
- | * list | + | * [[https:// |
- | * | + | |
< | < | ||
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+ | introduction course Two Legged Research | ||
+ | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | ||
+ | <fc # | ||
+ | * The Rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series. This creates an odd consonance between internal and external passage, one that suggests athat the mind is also a landscape of sorts and that walking is one way to traverse it. Rebecca Solnit, Wanderlust: a history of walking. | ||
+ | * she describes walking as a state in which the mind, the body and the world are alingned, as though they were three characters finally in concersation with each other, three notes suddenly make a chord. According to Solnit, the walking agreement not only provides a pleasant or healing feeling, which we all know, but also promotes creativity; during the walk, the passing landscape becomes, as it were, intertwined with your thought world, which also becomes a landscape. The new ideas that gradually emerge feel more familiar than usual. As though thinking were travelling rather than making. | ||
- | __Walking: a research method in art and design published by KABK Lectorate Design.__ | + | <fc # |
+ | * "A thought only gains value after it has been walked through" | ||
+ | * landing Sites Cocky Eek; https://cockyeek.com/ | ||
- | | + | * <fc # |
+ | * My footsteps make the mark. My legs carry me across the country. It's like a way of measuring the world. I love that connection to my own body. It's to me the world. Richard long. The Guardian, June 15, 2012. | ||
+ | * In the sixties walking art beacame | ||
- | * My footsteps make the mark. My legs carry me across the country. It's like a way of measuring the world. I love that conenction to my own body. It's to me the world. Richard long. interview by Higgins, Charlotte. The Guardian, june 15, 2012 | + | In the nature of things: |
+ | Art about mobility, lightness and freedom. | ||
+ | Simple creative acts of walking and marking | ||
+ | about place, locality, time, distance and measurement. | ||
+ | Works using raw materials and my human scale | ||
+ | in the reality of landscapes. | ||
- | | + | The music of stones, paths of shared footmarks, |
- | * 'Sit as little a s possible: do not believe any idea that was not born in the open air and of free movement - in which muscles do not also revel' | + | sleeping by the river' |
- | * Walking at ones own pace creates | + | |
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+ | * 'Sit as little a s possible: do not believe any idea that was not born in the open air and of free movement - in which muscles do not also revel' | ||
+ | * Walking at ones own pace creates | ||
* By walking barefoot we can start to feel our environment again. Louisse Spisser | * By walking barefoot we can start to feel our environment again. Louisse Spisser | ||
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* Walking Exercises: Lines and Squiggles in the Desert: https:// | * Walking Exercises: Lines and Squiggles in the Desert: https:// | ||
- | * drunken dragon walk. source Dr Shen Hongxun | + | * drunken dragon walk. source Dr Shen Hongxun |
- | * You're walking and you don't always realize it, but you're always falling. With each step up,you fall forward slightly and then catch yourself from falling. Over and over your falling and then catching yourself from falling and this how you can be walking and falling at the same time. Laurie Anderson - Gravity;s Angel, inspired by the book Gravity' | + | * You're walking and you don't always realize it, but you're always falling. With each step up,you fall forward slightly and then catch yourself from falling. Over and over your falling and then catching yourself from falling and this how you can be walking and falling at the same time. Laurie Anderson - Gravity's Angel, inspired by the book Gravity' |
* Sometimes you are not even aware that you are listening, but moving along with your tempo. Laurie Anderson. Northon lectures #02. | * Sometimes you are not even aware that you are listening, but moving along with your tempo. Laurie Anderson. Northon lectures #02. | ||
+ | * your feet are the heaven of the earth (ancient Maya culture) | ||
+ | * I cannot sit still until I have moved. Walking itself is a way to take your mind off things, clear your head , make room for something new. Thomas Roosenboom, vrij nederland 2012. | ||
+ | * since the 60's walking itself became a form of art by itself. | ||
+ | * | ||
+ | *<fc #800000> Guido van der Werve</ | ||
+ | * Monty Python; Ministry of silly Walks: https:// | ||
- | + | assignment: from the exotics--- to the everyday surrounding , read text together....Embodied research in emergent Antropoceen landscapes. a walk as inspiration for a work or as a work itself... | |
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- | ==== title ==== | + | |
- | | + | walk step, moonwalk in between exercise: https:// |
+ | | ||
- | * [[https://walkinglab.org/thewalkingneighbourhood/|link titel]] | + | |
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+ | <fc # | ||
+ | Francis Alÿs – Paradox of Praxis I (Sometimes Making Something Leads to Nothing), Mexico City, 1997 | ||
+ | The Paradox of Praxis 1 is a four-minute, | ||
+ | The video features sights, sounds, as well as streets and storefronts of the city in the background. The final scene of the video also features a group of 3 young boys that smile up at the camera as the video comes to a close. | ||
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+ | Though considered an absurd use of one’s effort and time, the act of pushing the block of ice around the city center was created by Alÿs to examine day to day life in Mexico city. As the video continues to progress, the audience is confronted with images of the sidewalks and puddles of dirty water in various areas of the city. | ||
+ | was done to symbolize the frustration that everyday residents of Mexico City endure in an effort to improve their living conditions. | ||
+ | that sometimes the only thing that one needs to enjoy their city in a new and unique way can be something as modest as a block of ice. the street, the crowds and the people who populate the street , determine his actions. | ||
+ | Passers-by and traffic always provide unexpected twists. | ||
+ | In his work Narcotourismo he walked for a week through Copenhagen, each day under the influence of a different dru after followed a depression. In london he walked past houses with fences. like a small child ALuys rattled past them during his walks with a stick. Those walks culminated in a series of short films | ||
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+ | Francis Alÿs Paradox of Praxis 1 (Sometimes making something leads to nothing)https:// | ||
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+ | what walking means in cultural history: | ||
+ | * Homeric bards, old wanderers for whom walking was a part of poetry | ||
+ | * the Peripatetic philiosophers who taught and discoured while walking back and forth in a Stoa | ||
+ | * Collonade; the walking poets of the Hellenistic world, who would leave a little poem behind them them at a brook or under a shade tree where other walkers from town to town would find them, extolling the shade of the tree, the clarity and coolness of the water in the brook, | ||
+ | * The Sky- walking or Cloud-walking Taoist poets and ages, who would high uo in the mountain peaks in cloud banks | ||
+ | * Li Po walking and following the moon | ||
+ | * The Buddhist walking meditation, in which excruciating slowness first the path then the heel of each foot gloms the ground. | ||
+ | * the Anabis, the great walk of the greek soldiers trapped in Persia under Xenophon | ||
+ | * the walk to the end of the world that Alexander the Great wept from inability to complete | ||
+ | * the wandering scholars and troubadours of the European Middle Ages | ||
+ | * Mao's Long March and Gandhi' | ||
+ | * the man who ritually walked the lenght, from end to end, of every streetin Mahattan. http:// | ||
+ | and so on | ||
+ | walking just as a motion, as process, as a going on in life, a continuum, a mode of selfexpression or dicovery or exploration, | ||
+ | * The prostrating walk in Chine Buddhism. The monk enters a concentration or one pint-state as much as possible, faces in the direction he wishes to traverse, and lies flat on his face on the ground; when he gets up he plants his feet where his face had been when he was lying down, gathers his concentration again, and so on. It's much like the movement of an inch-worm, except that with each prostration he advances about five feet. For centuries Buddhist monks developing their vipassana concentration, | ||
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+ | <fc # | ||
+ | Relation in Space, Venice Biennale 1976. M; "our first performance was, Relation In Space in 1976 and was performed for the Venice Biennale. This idea of this piece was two naked bodies running and hitting each other frontally and increasing the speed for one hour. We really wanted to have this male and female energy put together and create something we called That Self." | ||
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+ | The Great Wall Walk (1988) was based in the idea of the artists walking towards each other, in theirr early work, the pair walked toward each other over and over again with great physical concentration across a small space. in the great wall the while they converged across a fast distance, their walking invoved perhaps even more mental than physical effort. | ||
+ | (source: | ||
+ | their experience from the state of walking and also of being in China resulted in works which were exhibited: | ||
+ | Boat Emptying, Stream Entering; 3 objects which the audience is asked to use until the energy is transmitted: | ||
+ | The public is invited to experience physically, with their head resting on a quartz or obsidian cushion and their body in contact with the copper, the degree of energetic emanation conveyed by the materials. Starting from two opposite points, they advanced towards each other for ninety days before coming together. Entitled The Lovers , this action marked not only the end of his relationship and artistic collaboration with Ulay, but also an emotional and creative rebirth. The artist considers The Lovers not as a performance, | ||
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+ | * (https://territoriesofarttherapy.wordpress.com/2018/10/ | ||
+ | * <fc # | ||
+ | check it out! plus pictures. | ||
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