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+ | * 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. | ||
+ | * "A thought only gains value after it has been walked through" | ||
+ | * landing Sites Cocky Eek; https:// | ||
- | __Walking: | + | * 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. |
- | * The Rhythm of walking generates a kind of rhythm of thinking, and the passage through | + | * In the sixxties walkingart 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 connection to my own body. It's to me the world. Richard long. interview by Higgins, Charlotte. The Guardian, June 15, 2012 | ||
* After the rains, the air smells fresh with ozone sap, and leaf litter, and my senses are alive with curiosity. Anna Tsing | * After the rains, the air smells fresh with ozone sap, and leaf litter, and my senses are alive with curiosity. Anna Tsing | ||
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* 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 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. | + | * Guido 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 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:// | ||
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... | 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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walking just aas a motion, as process, as a going on in life, a continuum, a mode of selfexpression or dicovery or exploration, | walking just aas 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, | * 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, | ||
+ | |||
+ | 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." | ||
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. | 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. |