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- | __Walking: a research method in art and design published by KABK Lectorate Design.__ | + | Two-legged Research |
- | * The Rhytm of walking generates | + | is a course for true wanderers into an exploration |
- | * 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. interview by Higgins, Charlotte. The Guardian, June 15, 2012 | + | A walk can be considered as ' |
- | | + | You will explore different methods with a particular focus on duration, instruction, |
- | * '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' | + | |
+ | This course is inspired by diverse walking practices, from the ancient Songlines of the Australian continent, to the Drunken Dragon walks from China, from the migrations of animals and plants, to the tourist hike and audio tours, from the wandering philosophers and psycho-geographers, | ||
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+ | Which unexpected perceptions, | ||
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+ | Walking - ‘Move at a regular pace by lifting and setting down each foot in turn, never having both feet off the ground at once’ | ||
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+ | _____ | ||
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+ | in the old <fc # | ||
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+ | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | ||
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+ | a walk as inspiration for a work or as a work itself... | ||
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+ | <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 traveling rather than making. | ||
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+ | <fc # | ||
+ | * landing Sites Cocky Eek; https:// | ||
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+ | * <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 became a genre by itself. | ||
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+ | 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. | ||
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+ | The music of stones, paths of shared footmarks, | ||
+ | sleeping by the river' | ||
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+ | A Line Made By Walking and England 1967. Long created this work by repeatedly walking back and forth in a field made of grass. After that, Richard Long photographed this from an angle at which light enhanced the look of the line. | ||
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+ | * <fc # | ||
+ | check it out! plus pictures. | ||
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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 an unadulterated feedback loop between the rhythm of [one' | * Walking at ones own pace creates an unadulterated feedback loop between the rhythm of [one' | ||
* 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' | + | * 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' |
* 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) | * 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. | * since the 60's walking itself became a form of art by itself. | ||
* | * | ||
- | * Buido van der Werve, in 2007 left with a small crew to the Botanical Golf, to make a movies where he slowly walks over ice, just in fron tof Sampo, a three and a half thousand ton icebreaker of the Finnish government. A risky venture, but delivered an iconic result: the film number eight, Everything is going to be all right. | + | *<fc #800000> Guido van der Werve</fc>, in 2007 left with a small crew to the Botanical Golf, to make a movies where he slowly walks over ice, just in front of Sampo, a three and a half thousand ton icebreaker of the Finnish government. A risky venture, but delivered an iconic result: the film number eight, Everything is going to be all right. |
+ | * Monty Python; Ministry of silly Walks: https:// | ||
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+ | walk step, moonwalk in between exercise: https:// | ||
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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 ALys 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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+ | <fc #800000> The Lovers, The Great Wall Walk, Marina Abramovic and Ulay</ | ||
+ | What walking means in cultural history: | ||
+ | * Homeric bards, old wanderers for whom walking was a part of poetry | ||
+ | * the Peripatetic philosophers who taught and discoursed 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 sages, who would walk high mountain peaks in cloud banks | ||
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+ | * The Buddhist walking meditation, in which excruciating slowness first the path then the heel of each foot gloms the ground. | ||
+ | * the Anabasis, 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 length, from end to end, of every street in Mahattan. http:// | ||
+ | and so on | ||
+ | walking just as a motion, as process, as a going on in life, a continuum, a mode of self expression or discovery 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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+ | * 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. | ||
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+ | 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. | ||
+ | Boat Emptying, Stream Entering... , comes out of the experience undergone during this journey. The legends were always about the different dragons: Green dragons/ | ||
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+ | * (https:// | ||
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+ | https:// | ||
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+ | the songlines | ||
+ | wilfried hou je bek: algorithmic walking | ||
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- | 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... | ||
- | walk step, moonwalk in between exercise: https:// | ||
- | https:// | ||
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- | *landing sites, Cocky Eek; https:// | ||
- | *Richard Long: At the age of 22 Long made a work that would prove to be exemplary for his entire oeuvre: A Line Made by Walking (1967), an icon of Land Art. The actual artwork was the action itself and its result in the landscape. For this he walked a true line back and forth across a field of grass, until a path of flattened grass appeared. he took a picture of this in black and white. | ||
- | The photograph itself is the least important part of this work. it was necessary in order to record the temporary outcome of Long's action and make it visible to a large audience. the actual work of art was the action itself and its result in the landscape itself. The actual artwork was the action itself and its result in the landscape. | ||