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+ | introduction course Two Legged Research | ||
+ | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | ||
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<fc # | <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. | * 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. | ||
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- | * 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. |
* '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' | * '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' | ||
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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. | ||
* | * | ||
- | * 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. | + | *<fc # |
* Monty Python; Ministry of silly Walks: https:// | * Monty Python; Ministry of silly Walks: https:// | ||
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walk step, moonwalk in between exercise: https:// | walk step, moonwalk in between exercise: https:// | ||
- | *landing sites, Cocky Eek; https:// | + | |
- | *<fc # | + | |
- | 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. | + | |
- | 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, | ||
- | sleeping by the river' | ||
- | Francis Alÿs, strolls with critical thinking through world cities. so he enters a rich state of consciousness. which yields surprising videos. Francis Alÿs is known for using poetic and metaphorical techniques to highlight the political and social realities of his city. Often, the issues he addresses range from national border politics to globalism and areas of conflict in his community and the effects of modernism. | + | <fc #800000>Francis Alÿs</fc>, strolls with critical thinking through world cities. so he enters a rich state of consciousness. which yields surprising videos. Francis Alÿs is known for using poetic and metaphorical techniques to highlight the political and social realities of his city. Often, the issues he addresses range from national border politics to globalism and areas of conflict in his community and the effects of modernism. |
Francis Alÿs – Paradox of Praxis I (Sometimes Making Something Leads to Nothing), Mexico City, 1997 | 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 Paradox of Praxis 1 is a four-minute, | ||
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Francis Alÿs Paradox of Praxis 1 (Sometimes making something leads to nothing)https:// | Francis Alÿs Paradox of Praxis 1 (Sometimes making something leads to nothing)https:// | ||
- | introduction course | + | |
- | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | + | |
what walking means in cultural history: | what walking means in cultural history: | ||
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* the man who ritually walked the lenght, from end to end, of every streetin Mahattan. http:// | * the man who ritually walked the lenght, from end to end, of every streetin Mahattan. http:// | ||
and so on | and so on | ||
- | 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 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, | * 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." | 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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* (https:// | * (https:// | ||
- | * Stanly Brouwn: takes walking, a man's step as his point of departure. the human measure against which all else can be compared. | + | * <fc #800000>Stanly Brouwn</fc>: takes walking, a man's step as his point of departure. the human measure against which all else can be compared. |
check it out! plus pictures. | check it out! plus pictures. | ||