CONFERENCE PROGRAMME

DAY 1 (Friday, 28th June 2013) 8.45 9.00 Registration (Prospect, Upper Social Space) 9.00 9.10 Welcome (Prospect 009) 9.10-10.30 SESSION 1 Panel 1a (MC 234) CHAIR: MIKE COLLIER DIANE SMITH The Walking Institute ANDREA TOTH & JUDY THOMAS Heavens Above MORAG ROSE Loitering with Intent to Make Manchester Wonderful MARIE-ANN LERJEN Conceptual Walks with Groups Panel 1b (Prospect 009) CHAIR: CAROL MCKAY TOM SYKES The Architectural Site as Muse: Georges Perec and Walking into Topophilia PASCAL GIN Walking the Contemporary Landscape: Pedestrian Tactics in Jean Rolins Literary Journalism ROSALINDA RUIZ SCARFUTO The Beat of Walking: Wordsworth, Machado, Kerouac, Whitman 10.30-10.50 Tea and Coffee Break (Prospect, Upper Social Space) 10.50-12.15 SESSION 2 Panel 2 (Prospect 009) CHAIR: MARC BOTHA RUTH BURGON Haunted Footsteps: The Sound-Walk and the Doubled Subject ANN MATTHEWS Self-Imposed Control: Walking and Documenting the Multiple City MARIE-ANN LERJEN Highlighting a Cityline CHIARA SERENELLI Walking (along) Liminal Landscapes WALK (Meet in Prospect, Upper Social Space) ALISON LLOYD -- Contouring, or, she canna contour 12.15-13.15 Lunch Break (Prospect, Upper Social Space) 13.15-14.45 SESSION 3 Panel 3a (Prospect 009) CHAIR: CAROL MCKAY TONY WILLIAMS Iterations: Days, Walks, Excursions, Episodes, Chapters, Scenes SHANE McCORRISTINE Walking in the 19th-Century Arctic: Embodied and Disembodied Knowledges JUDITH P. ROBERTSON Walking in Literary Pilgrimage with Annie Liebowitz and Virginia Woolf ELIZABETH YEOMAN Nutshimit: Walking as Protest and Everyday Practice in Innu Labrador Panel 3b (MC 234) CHAIR: CLARE QUALMANN TOM CALVERT Examining Everyday Pedestrian Experience with a Phenomenological Perspective CLARISSA RODRIGUEZ GONZALEZ Androgynous Walking: a New Referent from a Brazilian Artistic Perspective BRIDGET SHERIDAN Paths of Memory TIFFANY HAMBLEY Recounting Shikoku 14.45-16.00 SESSION 4 Panel 4a (MC 234) CHAIR: MIKE COLLIER PAUL GOODFELLOW System Walks: Sampling Colour DON GILL Erratic Space INGE PANNEELS map-I Panel 4b (Prospect 009) CHAIR: MARC BOTHA SHIRLEY CHUBB Significant Walks MICHELLE MANTSIO Consider Walking: Engaging Hospitable Environments for Self-Support ANNA JORNGARDEN The Mind of the Walker: Meditation and Madness 16.00-16.30 Tea and Coffee Break (Prospect, Upper Social Space) 16.30-18.00 SESSION 5 Panel 5a (Prospect 009) CHAIR: MARC BOTHA MARK JAMES & TIM OFFER Ambulation: Appraisal, Proposal, Approach WRIGHTS & SITES (HODGE, PERSEGHETTI, TURNER, SMITH) The Architect-Walker: Manifesto and Manifestations ZOE ANDERSON A Guide to Walking TIM BRENNAN STOP! DONT WALK! Saying Goodbye to Tom, Dick, and Henrietta

Panel 5b (MC234) CHAIR: WALTER LEWIS AMY TODMAN Walking the Five Sisters at Silbury Hill AMY JONES Walking Wales: Experience, Movement, and a Sense of Place on the Wales Coastal Path CHARLOTTE JONES Sensory Score as Research Tool RUBY WALLIS Autowalks: Is it Possible to Define Place Through Artistic Practice/? 19.00-21.30 Curators Tour and Artists Talks followed by Wine Reception, Talk by Tom Chivers, and Poetry Reading by Alec Finlay at the WALK ON exhibition, NGCA
ATUL BHALLA , BRIAN THOMPSON, BRYNDIS SNAEBJORNSDOTTIR, MARK WILSON, MIKE COLLIER, RACHAEL CLEWLOW, TIM BRENNAN

TOM CHIVERS, ALEC FINLAY

DAY 2 (Saturday, 29th June 2013) 9.00-10.30 SESSION 6 Panel 6a (Prospect 007) CHAIR: MIKE COLLIER ANDREW TOLAND Walking Landscape Urbanism DARREN CARLAW 21st-Century Flneur? Reinterpreting the Literary Urban Wanderer for the New Millenium RUDI VAN ETTEGER Wish You Were Here, Walking With Me CHRISTOPHER COLLIER The Contemporary Drive: Recombination and Recomposition Panel 6b (Prospect 009) CHAIR: MARC BOTHA BARBARA LOUNDER The Longest (Ongoing) Walk: Walking as Protest and Commemoration JAMES LAYTON Communitas, Ritual, and Transformation in Robert Wilsons Walking MORGAN BEEBY A walk across a continent: meditations on time and ritual; space and pilgrimage AILSA GRIEVE Walking as Ceremony 10.30 11.00 Tea and Coffee Break (Prospect, Upper Social Space) 11.00-12.30 SESSION 7 Panel 7 (Prospect 009) CHAIR: CAROL MCKAY BRUCE BAUGH Retracing and Remembering: In the Steps of Andr Breton and Nadja PHILIPPE GUILLAUME Walking, Photography, and Thirdspace along the Boulevard Saint-Laurent ERNIE KROEGER On Walking and Photography: Henri Cartier-Bresson and Gary Winogrand ASLI OZGEN-TUNCER Cinematic Pedestrianism: Flnerie, Fluidity, Urban Aesthetics, and Mobility WALK (Meet in Prospect, Upper Social Space) IDIT NATHAN AND HELEN STRATFORD -- Walk & Play || Sunder & Land 12.30-13.30 Lunch Break (Prospect, Upper Social Space) 13.30-14.30 KEYNOTE PRESENTATION (Prospect 009) TIM INGOLD The Maze and the Labyrinth: Walking and the Education of Attention 14.30-15.00 Tea and Coffee Break (Prospect, Upper Social Space) 15.00-16.30 SESSION 8 Panel 8a (Prospect 009) CHAIR: MIKE COLLIER AILEEN HARVEY Walking, Art, and Non-Pictorial Representations of Landscape KRIS DARBY Cant We Stay Here? A Lone Twin Non-Trip JO VERGUNST Watercolours and Walking Art: Treading the Politics of Landscape with Hamish Fulton MARK RILEY Pathmarking : Walking the Heidegger Rundweg at Todtnauberg Panel 8b (Prospect 007) CHAIR: MARC BOTHA CLARE QUALMANN walkwalkwalk: Stories from the Bethnal Green Archive IDIT NATHAN Sites and Sights at the Throw of a Die Making Sense of a Contested Terrain Through Walking and Playing SARA WOOKEY (A) (No)body Walks in L.A.: Prompting Social and Perceptive Experiences in Los(t) Angeles WALTER LEWIS Walking with Gablik 16.30-17.00 Closing Roundtable and Farewells (Prospect 009) 17.00 -- Optional Visit to The Resilience of the Wild Exhibition with artist Mike Collier at the Customs House Gallery

PANEL DETAILS

PANEL 1A DIANE SMITH (Deveron Arts) || CLAUDIA ZEISKE (Deveron Arts) -- The Walking Institute We would like to present the Walking Institute to the conference; the background to this new project; our current programme and why we felt the need to create a coherent Institute focused on commissioning new work with the context of walking & art at the present time. Over the past 15 years, Deveron Arts has deepened its focus around the notions of walking and hospitality through developing research and action programmes. With this working practice and experience, Deveron Arts is setting up this new venture, with the aim of becoming, by April 2014, a separate and independent organisation called The Walking Institute. The Institute will be a year round centre of excellence within the walking and art discourse. It will bring walking activities together with arts and other cultural disciplines with people from all walks of life and engage them in a range of walking activities which are both accessible and creative. The Institute has two main aims: Research & Mapping: research and map the philosophy of walking and links across art discourse primarily, and politics, community, seasons, etc. Activities: identify and develop activities and new paths & trails by creating path networks geographical, historical and anthropological which connects to the broadening networks and dialogues existing across the globe. Whilst core development will happen in Scotland, the aspiration of the programme is to spiral out geographically and to include satellite events and collaborations elsewhere. Our presentation will be focused on discussion and engagement. ANDREA TOTH || JUDY THOMAS -- Heavens Above This paper explores a collaborative art practice of walking together, merging experiencing, making, presenting, and social engagement. Our walks have become a platform to share ideas and make new work, providing not only motivation but also a safe space to explore themes of memory, space and spirituality, while being inspired by weather, light and the landscape. The value of this relationship is huge. To be an artist is a predominantly solitary activity; to be able to have support and be supported gives great strength. Our combined experiences, thoughts and connections enhance greatly what might have been done individually. The collaboration is pushing us both to be more courageous and move out of our comfort zones. Through a process of painting, photography and film, we are in a research phase, responding directly to the physical world, bridging to an inner spiritual world, through visual representation. The act of walking and getting into the landscape also gives us a chance to pause and reflect on our individual and collaborative work, which is an important and integral step in the creative process. Our ongoing questioning dialogue along with walking with others opens up thoughts and possibilities at a greater and deeper level than if done individually. Extending the social aspect of the project to a wider audience, we are hosting a series of Northumberland walks during National Park week (July 29 August 4 2013), which will bring people together, celebrate the landscape, consider the environment and value the world in which we live. MORAG ROSE -- Loitering with Intent to Make Manchester Wonderful In 2006 I co-founded The LRM (Loiterers Resistance Movement) a Manchester based nterdisciplinary collective interested in psychogeography. For The LRM Psychogeography is a kinaesthetic practice; a multi-sensory and playful tactic for community engagement. Inspired by The Situationist Internationale, the concept of the derive is the starting point for a range of unorthodox public tours. Walking is a way to provoke dialogue and new ways of seeing the city. The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, ncover hidden histories and discover the extraordinary in the banal. They aim to nurture critical awareness of everyday space, (re)engaging with and (re)enchanting the city. The LRM's events are ephemeral but we have experimented with a range of ecording and analytical methods to capture their essence. I am interested in blurring the oundaries between academia, activism and personal experience and this paper will present fieldnotes from an ongoing experiment in remapping Manchester through our wanderings. MARIE-ANN LERJEN (Agency for Walking Culture, Swizerland) -- Conceptual walks with groups (Pecha-Kucha paper) One of the aims of the Agency for Walking Culture is to explore an embodied active learning of urban space. Therefore the Agency invites people to participate in conceptual walks. A conceptual walk with a group begins with an introduction to the experimental setting, which supplies the framework for the experience. For example, the outline of the walked route could proceed from a shape that is placed at random on a city map. Alternatively, the route is designed following or traversing strong lines in the city structure (etc.). Walking in silence intensifies receptiveness to the features of the respective environment. The guide leads the group along the chosen route, but also takes part in the experiment. An important part of these walks with groups is a moment of reflection and exchange of experiences at the end of the walk.

PANEL 1B TOM SYKES -- The Architectural Site as Muse: Georges Perec and Walking into Topophilia Architecture exists in space, but it happens in places. Lasting and meaningful architecture responds to and intervenes with its milieu, yet the process of designing is done almost entirely seated in offices and studios great distances from the sites of construction. This paper seeks to forge the outline of a methodology for creating lasting renditions of place through intense perambulatory investigation. Georges Perecs notational writing on Paris sets out a schema for a way walking, not walking, drinking coffee, and most importantly, watching that is suggestive of a sites movement from a geometric space into a loaded and inspiring place; the site as a muse for the design process. The methodology is developed through the unpacking of Perecs stylistic systems, uncovering hints of other ways of recording the site in more graphical and interactive forms, the goal being a subjective rendition of Tuans topistic (Tuan, 1991) aspects of a specific geographical locale that inspires immersion in its atmosphere even when physically distant. Illustrated through the example of a large scale architectural project amidst Birminghams canals this case study is founded on the rewards of urban exploration and adventure in forming a lasting bond with place. The discussion of this project is used as a vehicle for the development of another theoretical implication: the suggestion that these early recordings act, in the terminology of Roland Barthess Mythologies, as pure meaning, endowing the process of design with the act of myth-making, and offering a critical perspective for developing personal design, and walking, methodologies and challenging existing ones. DR. PASCAL GIN (CARLETON UNIVERSITY) -- Walking the contemporary landscape: pedestrian tactics in Jean Rolins literary journalism and the cypress-lined road made its way into the landscape As Henri Lefebvre notoriously pointed out, spatial representations are fraught with the ideological trappings of self-evidence. From the fixity fetish of atemporal places to the abstraction of users walking the Tuscan road, an iconography of the distinctively local easily paints over, in Lefebvres analysis, historical processes of social production. Beware, then, of the cypress-lined road. Unless, possibly, one were to walk the road. Indeed, pedestrian engagement with spatial forms and contexts yields an experience and cognition that reach beyond a rhetoric of visibility. As mobility becomes human agency to echo Tim Creswell commenting on Michel de Certeau the pragmatics of walking blurs the presence effect of scenery and draws attention to the many movements shaping a sense of place, starting with the process of enlacement (Wylie) that binds pedestrian motion, the path travelled, and representation on the move. Reaching beyond 18th century Tuscany to the literary landscaping of contemporary spaces, this paper will investigate how the walk is integrated as a tactic of representation within the work of French literary journalist Jean Rolin. With a focus on peri-urban districts or stretches of industrial borderland, this practitioner of slow journalism routinely walks his readers through texts shaped by hyperlocal pedestrian narratives. As such, spatial representation in Rolins works stands at odds with a global imaginary sized to the unimpeded mobility of mass media flows and the collage effect (Giddens) of a dematerialized connexity. From actual journeys to textual device, walks provide the writer with a range of experiential and figurative options, which this paper will undertake to assess. ROSALINDA RUIZ SCARFUTO (University of Alcala) -- The Beat of Walking: Wordsworth, Machado, Kerouac, Whitman How the rhythm of a poets muse has its roots in skipping across the land, like a stone across the water, making ripples in our natural/literary heritage Four poets act of walking transformed not only themselves, but also other artists. Antonio Machado was opposed to the act of Greek gymnastics, proposing walking in his boyhood Guadarrama mountains to become fit in body and mind. Walt Whitman found a leaf of grass as the alternative to a blade of grass changing our view of semantics (violent or non-violent) as he walked his native grasslands of Long Island, New York; leaving (leafing) us his legacy to find the song of ourselves. Wordsworth wandered out to the Lake District, gathering on walks Feather, or leaf, or weed, or withered bough, that would serve to create collages of any kind. He drew writers from afar, intellectual urban dwellers, to follow in his skip to appreciate rural life as inspiration. Kerouac land-escapes to the forest after being On the Road and meeting G. Snyder (inspired by Basho), thus producing Dharma Bums. Walk your talk is how these poets commun-i-cated for the coming artists to be or...

PANEL 2 RUTH BURGON (University of Edinburgh) Haunted Footsteps: the sound-walk and the doubled subject In recent years one of the ways in which walking has become recognised, practised and theorised as an aesthetic practice is through the reemergence of psychogeography, a term taken from the Situationists but now re-imagined in a new guise. Psychogeography is full of whispers, histories that resonate with the psyche of the walker. For some, this is a confirmation of ones place within history; to be haunted by the past is a kind of continuity. But to haunt, or to haunt oneself, is arguably a fracture, a detachment from ones own subjectivity and a questioning of lineage. This paper will explore artists use of the sound walk or audio walk in relation to the concept of haunting. This will include artists who use the recorded voice as a means of conducting a guided walk (Janet Cardiff, Simon Pope), those who record their own experiences while walking (Andra McCartney and Sandra Gabriele), turn such experiences into audio essays (Mark Fisher and Justin Barton) and those who use the live voice while moving through different urban environments (Tim Brennan, Maryclare Fo). I am interested not just in the psychogeographical trait of unearthing histories through the act of urban exploration on foot, but also in the subject position conjured by such a practice. Through their use of voice, echo and resonance artists who engage in sound walking not only trace histories, but trouble them, and by doing so also trouble the subject position of the walker, who looks over her shoulder, pursued, doubled. ANN MATTHEWS (Northumbria University) -- Self-imposed Controls: Walking and Documenting the multiple City In this paper, I will discuss the experience of walking in relation to the predetermined self-imposed controls I employ which influence how I move through the city. These controls are methods which enable me to approach walking in different states of mind, leading to different responses that culminate in a rich resource from which to create creative texts that reflect the multiple city. Ideologically, I perceive and also experience the city as a multiple city: encountering the difference/s, the plurality of the spaces that I walk, picking up on the diversity and heterogeneous nature of the urban environment; and of being an other among many diverse others a fragment of what defines that place physically, socially and culturally. To reflect this I vary my methods of walking. I will discuss two methods, Guy Debords drive and my adaption of Gilles Deleuze and Felix Guattaris concept of the rhizome. Debords drive is a type of oppositional walking with an explicit agenda to negate the dominant capitalist structure and ideology of the city by deliberately: seek[ing] out reasons for movement other than those for which the environment was designed; [...] bringing an inverted perspective to bear on the entirety of the spectacular world. (Sadie Plant The Most Radical Gesture ). According to Deleuze and Guattari: The rhizome itself assumes very diverse forms defined by its very nature as a series of roots that exten[d] in all directions. (A Thousand Plateaus).They apply this idea of multiple networks with multiple connections, as opposed to a single taproot, to mapping ideas, writing, objects, places and people. MARIE-ANN LERJEN (Agency for Walking Culture, Swizerland) Highlighting a cityline (Pecha-Kucha Paper) The starting point for the project Geleit (escort) for a film festival in Brig- Glis, a city in the Swiss mountains, was a historical waterline. The aim was to make the actual urban landscape visible from a culturally important line as a divergent spatial structure. Therefore the film was made using an innovative technique: a walking performer was photographed in tightly framed shots. Out of over 1,000 images a composition was created. In this image strip each picture is still visible. The strip was animated in a way that the spatial and temporal progression of ambulation is inscribed in the film. At the same time the form of the city through which the performer is moving is visible in the foreground and background, panorama-like yet fragmented. The result is an observation rich in detail. CHIARA SERENELLI (University of Florence) -- Walking (along) liminal landscapes. Walking as a device for constructing processes of social participation for contemporary landscape planning: a case study in Italy along historical pilgrims trails. The author considers Walking as a practice able to give spatial configuration to the liminal dimension characterizing religious rituals such as pilgrimages (Turner & Turner, 1978), according to its potentiality in terms of landscape perception through corporal activity (Ingold & LeeVergunst, 2008, eds.). Liminality is believed to be a concept useful to explore contemporary uses and perceptions of landscape (Hazel & Les, 2012, eds.) starting from its historical and geographical analysis. The paper investigates these aspects through a case study in Central Italy in which a local mountain community has been invited by the author to share a walk along a historical pathway connected to an important dismissed Christian pilgrimage route, the via Lauretana. During the walk, people tested a process of landscape perception based on tangible elements of the landscape which are pathways and resting points permitting alternation of movement and observation. They are also components of historical landscape structure of the area explored. Their importance lies in their possibility to be the starting points of a process of spatial planning aiming at local resources conservation and management for the local community and they allow comparing historical analysis with the social perception of landscape.

PANEL 3A TONY WILLIAMS (Northumbria University) -- Iterations: days, walks, excursions, episodes, chapters, scenes My daily dog walk clears a space for writing practice through its reiteration of routes, landscape and experience. The formal qualities of the walk enable certain wrriterly activities to occur, but they also relate to and translate into certain formal qualities of the writing produced. In this paper I consider a number of iterations in relation to my own walking and writing practice. How far does daily writing practice approximate or differ from journal writing? How does the literal excursion of a circular walk compare with a literary excursus or digression? In what ways do the formal qualities of the repeated yet discrete walk shed light on the short story, chapter, episode and scene, which build in series to form the novel or sequence? I consider these questions in relation to a varied range of texts by Laurence Sterne, W G Sebald, Alice Munro, Jane Smiley, Dorothy Wordsworth, David Gaffney, Peter Hughes and Peter Riley, and in relation to my own disparate and chaotic writing life. In doing so I explore further how writing and reading occur both textually and extratextually as units bounded by acts, days and forms and as larger iterations of those units. Secret Destinations and Surprising Arrivals in Walking: Two Perspectives Martin Buber writes, All journeys have secret destinations of which the traveller is unaware. Our panel brings together three researchers from literature, visual art and education to offer perspectives on the moments of insight that transpire through acts of walking. In our consideration of walking as a form of mobile thinking, we draw on our work in three different cultural sites to explore how walking enhances and facilitates unanticipated or chance forms of apprehension. We set out on our journeys on foot and encounter something unexpected an intensified understanding of the previously un-thought known. Drawing on research examples from the academy, literature, pilgrimage, and walking the land with an Innu Elder in Labrador, we explore how nomadic apprehension is marked by an intensified temporal awareness, disorientation, feelings of loss or mourning, and an encounter with Otherness that is generous and constitutive of humanity in effect. JUDITH P. ROBERTSON (University of Ottowa) WALKING IN LITERARY PILGRIMAGE WITH ANNIE LIEBOWITZ AND VIRGINIA WOOLF Judith P. Robertsons study of literary pilgrimage draws on concepts from Deconstruction and Psychoanalysis to demonstrate the presence of uncertainty, fluid temporalities, and the therapy of distance in readersliterary journeys to the archive to meet and be with beloved authors. After Derrida, she sees literary walking as a form of Archive Fever, in which a ritual of access to time, being touched by Otherness, and experiencing melancholic awe conjoin to inscribe reading and walking experience. Judith uses autobiographical narrative and literary case study via Virginia Woolf and Annie Liebowitz to demonstrate how readers use literary pilgrimage as a site of subjective containment and expansion, in which the excesses and eccentricities of time conjoin with mobility to augment moments of apprehension. ELIZABETH YEOMAN (Memorial University) -- NUTSHIMIT: WALKING AS PROTEST AND EVERYDAY PARCTICE IN INNU LABRADOR Elizabeth Yeoman has been working for several years with Innu elder and cultural and environmental activist, Elizabeth Penashue, on translating the diaries she has been keeping in Innu-aimun since the Innu protests against NATO low-level flying and weapons testing on Innu land in the 1980s. Her diaries (and related recordings and photographs) document memories of her own early life as a nomad and oral history of Innu life in the past as well as her growth as an activist. A key part of this activism is the annual weeks long walk on snowshoes that she leads into nutshimit: a word that could be translated as the land, the bush, the country, the wilderness or simply home. This presentation explores, through sound, word and image, what it means to walk on the land in this context.

SHANE MCCORRISTINE (NUI Maynooth / Scott Polar Research Institute) -- Walking in the 19th Century Arctic: Embodied and Disembodied Knowledges How did British explorers encounter the Arctic world in all its complexity, spatially? How were the prerogatives of nineteenth-century imperial discovery service interrelated with both immediate embodied practices and narrative descriptions of contemplation and reverie? In this paper I reflect on the reveries of the naval explorers William Edward Parry and George Lyon in order to discuss how the creative tensions between representations and embodied subjective practices can thicken our understandings of Arctic exploration. Embodied reveries were part of the multi-dimensional encounter with the (now Canadian) Arctic world and a means by which explorers made sense of their environments and flirted with space.1 Both Parry and Lyon published descriptions of personal, meaningful, walks in the official accounts of their Arctic expeditions (1821; 1825) and I argue their references to strolling, wandering, and rambling around discovery ships in the Arctic can be understood as movements on paths to the unbounded where one may, as Wordsworth did, compose according to the feel of the passing earth and become the author of ones own solitude. I argue that reveries and dreaminess could, on occasion, disturb dichotomous imperial/indigenous distinctions by acting as a pathway between the sentient explorer and the polyphonic Arctic, an Arctic crucially made up by presences, absences, and co-presences.

PANEL 3B TOM CALVERT (University of the West of England) -- Examining everyday pedestrian experience with a phenomenological perspective: A discussion of methodology and findings. Pedestrian experience may be considered extremely important by virtue of its extensivity: Most people will be a pedestrian at some point during most days. It is also important in its potential to yield positive or negative affect in the walker. The pedestrian experience can be said amongst other things to be a psychological phenomenon which is experienced through the subjective awareness of the pedestrian. Phenomenology is one of the primary approaches in which subjective awareness of experiences can be understood. Yet there has been little work done on developing a phenomenology of everyday pedestrian experience. This presentation will look at the relevance of phenomenology for investigating the pedestrian experience. Two forms of phenomenology, as delineated by Crotty (1996) will be discussed, as will the ways in which these two forms informed the pursuit of a rich and incisive understanding of pedestrian experience. Illustrations from participants go along interview accounts and subsequent analysis will be given along with emergent data from depth interviews. A specific focus, on which little work had been done previously, is on the pedestrian experience of motor traffic in cities. One theme emerging from data is that despite the danger and noise issuing from traffic, participants showed varying sensitivity to its presence: some were highly affected whilst others were able to disregard it. Another insight gained is that mitigating factors in participants minds seem to lessen the effects of traffic. The presentation will draw conclusions on the outputs which can be obtained from phenomenologically influenced study. CLARISSA RODRIGUES GONZALEZ (Complutense University of Madrid) -- Androgynous walking: A new referent from a Brazilian artistic perspective According to Baudelaires concept of flneur, during the act of walking we are open to all possibilities and inspiration may blossom. For Judith Butler <no/body> goes for a walk without there being something that supports that walk. With or without purpose, androgynous walking can be understood as a performative act beyond structural rigidity with a vital role in a constantly changing world that requires flexibility and <bio>diversity, where ordinary people express themselves <in/dependent> of gender. Rarely has the androgynous referent been considered from a Brazilian perspective when discussing the relationship between visual arts and social behaviour as an <inter/action> of image, landscape and observation. Walking is an extension of ourselves, a reflection of our time such as fashion: Does unisex fashion homogenize our society across borders, erasing differences to the point of locked patterns even possibly expressed in walking? Does androgyny on the other hand propose liberty to transcend genders recognizing the full spectrum from andro to gyne and induce creativity through walking? As a documentation artist, this visual presentation is inspired by the Brazilian concrete poetry movement (1950s) combining photography, film and collage to demonstrate androgynous walking as an act along a continuum, where subjects amalgamate with their environment (rural or urban; natural or human- made): Is it being changed and absorbed by us or are we being changed and absorbed by it? Walking we make history, produce knowledge and move on. BRIDGET SHERIDAN (University of Toulouse) Paths of Memory I left Cornwall at the age of four. Thirty years later, I returned to England from France, my children being the same age as my brother and me when we left home. The experience was of the strangest: long lost memories reactivated by the process of walking in the landscape rose from the deepest and darkest depths of my memory. Thus, I decided to work on walking in landscape and its link with memory. The result was a series of photographs exploring the anachronistic side of childhood places. But I soon came to the conclusion that not only personal memory can be reactivated by the process of walking, but also collective memory. After having worked on a series of photographs taken along the Breton coast in August 2012, as I was walking the coastal path, and which question the ruins of WW2s Atlantic wall, my work is now centered on Le chemin de la libert, a network of paths that circulate between France and Spain, and which were used during the Spanish Civil War and WW2 by people escaping Francos dictatorship or Hitlers Nazism. Each year a group leaves the French town of St Girons on a memorial walk, reactivating history. My art project is to walk the Chemin de la libert using the photographic medium combined with writing to record my performance. The nature of photography itself seems to be perfect to reveal memory. Many French photographers who have worked on walking seem to have revealed landscapes tendency to hold the secrets of our past. French philosopher, Georges Didi-Huberman, has questioned this in his essay Ecorces. The paths that meander along the surface of the earth in Thierry Girards, JeanLuc Moulnes, or Jean-Loup Trassards photographs unveil our collective memory that nature has trapped in the soil, in the trees, in the mountains, in landscape. TIFFANY HAMBLEY (University of New South Wales) Recounting Shikoku I travelled to Japan in early 2011 to embark upon a walking pilgrimage of 1200km, around the island of Shikoku. This walk is known in Japanese as the Henro Michi. It is a traditional pilgrimage which circumnavigates the smallest of Japan's four main islands. The pilgrimage is structured by 88 Buddhist temples, which the walker visits. Unlike many Western pilgrimages, the walking circuit of the Henro Michi is circular rather than linear. When the Great Tohoku Earthquake and Tsunami occurred just as I was to depart, I was uncertain whether to go ahead with the walk. Ultimately, I made the decision to go. Shikoku was far from the physical location of the tsunami's devastationbut it was still a very uncertain time for Japan. The advent of the earthquake changed the feeling and nature of my pilgrimage walk from the outset. Before departure, I had sensed that the undertaking would change mebut I didn't know how. I had tried to 'train' for the walk, in the sense of becoming physically prepared, but I was struck, over and over again, by the idea that the only real way to prepare oneself to walk 1200km is to walk the 1200km. In this sense, the pilgrimage, even before I had set upon it, had begun to echo life. There is no way to

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prepare ourselves for negotiating the fabric of the everyday; we simply plunge onwards. Because I wished to write about the pilgrimage, and to write whilst I was actively undertaking the pilgrimage, I found myself drawn to consider the issue of walking and creative practice. How would the art of writing interface with this physical action, this long and slow undertaking? Before I left Australia, I certainly worried a lot about the practicalities of walking twenty, thirty, forty or more kilometres per day, and of maintaining a writing practice alongside this. But on the walk itself, my concerns shifted somewhat: I came to wonder what walking such a long wayand attempting to describe that actmight reveal about writing as representation. I wondered repeatedly whether the act of walking in this way was itself resistant to representation. And if it were, what might that tell me about words and their relationship to reality? These are the themes and dilemmas of walking, writing and artistic practice to be explored in my paper.

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PANEL 4A PAUL GOODFELLOW (University of Northumbria) -- System Walks: Sampling Colour This paper deconstructs the authors process that attempts to meld systems thinking, walking and art. The paper is informed by research in Systems Art, Psychogeography and Land Art. The paper considers the methodologies employed by the artist to select sampled colours collected from photographs during walks. With a systems and spatial analysis background the artist is interested in the role of randomness and subjective decision-making in the construction of abstract representational models, such as colour field paintings. A systems approach has been applied to environment and place, to produce art from conceptual walks named System Walks. There has been a renewed interest in the systems art, systems thinking and system aesthetics, and this can be traced back to three key events. Firstly the exhibition Open Systems: Rethinking Art c. 1970, held in 2005 at Tate Modern, and secondly the Systems Art Symposium at the Whitechapel Gallery in 2007. Underpinning both these events is the English translation of Art as a Social System, by Niklas Luhmann in 2000. The paper considers an urban walk in Berlin, Rosa-Luxemburg-Platz, and a rural walk in the Scottish Borders, The Three Brethren. Both walks have been repeated several times to produce colour field art. For each walk colour from the photographs have been sampled to produce colour field works. In the first iteration the colours are selected randonmly using a computer algoritm and in the second iteration the colours are chosen subjectively by hand. The repeated walks illustrate the temporal dimension of colour, and how a place is represented through colour over time. Whilst the random colour selection questions the representational role of the artist in these works. DON GILL (University of Lethbridge) Erratic Space Following architectural theorist Francesco Careri's ideas of the relationship of landscape to the development of architecture and particularly his concept of "Erratic Terrain", a Neolithic pre-nomadic space that is unmapped and empty, a space that is available for roaming and hunter/gatherer activity, I have developed a project titled Erratic Space. As a series of works based in a variety of locations, Erratic Space treats both Urban and non-urban space as Erratic. That is, unmapped and available for roaming. My preference is to site new iterations of the work in locations that I am unfamiliar with, particularly in a gallery or residency site that has a central location from which the work can circulate around. To use a potential exhibition as an example, I establish the parameters of the display by setting up a work-station with video monitors, computers with printers and office supplies: tape, pushpins scissors, paper cutters, blank scrapbooks etc. I also establish context with some artifacts and work from previous iterations of Erratic Space. From this point I set out on daily walks using a GPS unit as a drawing implement to track the shapes of these walks. As there is no predetermined outcome for these walks the act of moving through the area becomes an act of drawing through engagement with the discoveries of finding either natural routes or blockades to passage. These walks end at the gallery space where I print the GPS drawings and photographs, download images and video into slideshows, read and clip local and national newspapers, and similar activities. I construct wall maps of the experiences incorporating the materials that I gather on my excursions. INGE PANNEELS (University of Sunderland) -- Map-i The Map-i project was established as a framework within which a series of projects could be developed as part of a long-term holistic investigation into notions of place and space. It engages with mapping in art and the map as metaphor specifically by looking at the notion of space from a human perspective; from the infinitesimally small to the sublime of Space as was so eloquently encapsulated in the Eames film and a notion of wonder which also underpinned Mercators ambition for his Cosmographia. The ethos of Map-i is based on this premise of interconnectedness: how the observable universe can be broken down into infinitesimally small particles, applicable at both the micro and the macro level, always of course observed from a human point of view. The human factor of space; that which can observed, walked, experienced, noted and calculated is referenced by the i in Map-i. Mercator Revisited is the first project to be developed as part of Map-i and explores mapping in glass in the context of the 500th anniversary of the eponymous cartographers birth. The investigation of Mercators work has allowed not only a reflection on the legacy of five hundred years of cartography, but also on an incredible period of human endeavor; the choice of glass was an apt metaphor as a window on the world.

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PANEL 4B DR. SHIRLEY CHUBB (University of Chichester) Significant Walks This proposal involves a visual presentation of the research underpinning the Significant Walks project. Funded by the Wellcome Trust, Significant Walks explores the reality of walking for individuals with chronic lower back pain. The project pools the expertise of a research team that share a mutual interest in the resonance of walking as an interpretive tool and who came together following Shirley Chubbs site specific exhibition Thinking Path, which took Charles Darwins daily ritual of walking the same path in the grounds of his family home as its inspiration.1 The collaborative research team (see biography) are working with a group of participants who are invited to identify a personal walk that encapsulates memory, reminiscence and familiarity as well as being a measure of their physical experience. The project will present an immersive digital artwork that synthesizes eye level video documentation of participants personal walks with simultaneously gathered streams of kinematic data recording the movement of the spine. Researchers and participants work together to explore how the interpretive qualities of visual effects can be applied to each body of synthesized footage in order to express the nature and resonance of personal movement whilst walking. The resulting films will engage viewers in micro journeys that express individual experience through the interpretation of clinically accurate data. Each journey acts as a vehicle for precise accounts of physical movement whilst also presenting the reflective individual at the core of scientific understanding. In this way the work reflects Eisners theory that Human knowledge is a constructed form of experience and, therefore, is a reflection of mind as well as of nature. Knowledge is made and not simply discovered. MICHELLE MANTSIO (Victorian College of the Arts) -- Consider Walking: Engaging hospitable environments for self-support (Walking Study Landscape1: Nida, Lithuania). Historically the suggestion is that people were first introduced to landscapes in paintings and then saw landscapes in real life1. Since this perceptual shift, landscape has been an ideological juncture. It generously supports how humans and their experience of their environment might meet with the more abstracted propositions of art such as line, space and depth. Consider walking ------------------------------------------------------------as landscape Walking is like the formal construction of a mark, the line. You begin as a point and then given your meander the line is constructed as a demarcation of your location in space. In art, as soon as you draw a line on a piece of paper, you have constructed space through elevation and depth, which is an incredibly succinct technique. These walking lines or landscapes generously offer sympathetic embodiments that support a translation of human experience to the abstractions of space found in art. In doing so I am suggesting that they open up the potential of how you might consider walking as an engagement or exploration of hospitable environments for self-support. Consider walking ---------------------------------------------------------- for self support There is a quality to walking where you may have a moment of identifying that you are in between. In between, what you have left behind, yet not quite at your destination. It is a palpable moment, a juncture in a line that in its recognition can create a sensation of hospitality, where space and time hold you. Do we often assimilate through our experience of landscape, the pleasure of this hospitality as an embodiment of firstness? Could this sensation be furthered, as a form of self-sustaining and self-determining governmentality of health? Should it? Through the artwork; Walking Study Landscape 1 based in Nida, Lithuania, this paper will discuss how walking the landscape has been explored. The conditional basis of the artwork explores the potential of art to enable a more robust and flexible experience employing walking the landscape as a malleable technique for self-support. DR. ANNA JORNGARDEN (Stockholm University) -- The Mind of the Walker: Meditation and Madness I only thought of walking, that the action of my muscles might harmonize with the action of my nerves; and walk I did, fast and far, the excited protagonist comments on his state of mind in Charlotte Bronts The Professor. Ever since formulated by Rousseau, there exists a strong cultural association between walking and the workings of the mind. I can only meditate when I am walking, claimed Rousseau, inaugurating a view of walking as stimulating reflexivity and higher states of consciousness. In the same vein, walking is also linked to selfactualization and self-restoration. It has been promoted as the perfect tonic for a jaded mind (A. Wainwright) and has even been called the walking cure, or psychotherapeutic walking (A. Wallace). On the other hand, the idea of walking as an essentially wholesome practice is unsettled by another association, which instead links walking to mental instability and even madness. Walking and thinking are intimately related, says the character Oehler in Thomas Bernhards novella Walking (1971), but in this text the Rousseauian belief has more sinister implications: the intense peripatetic meditations culminate in a mental and textual collapse. One of the most striking cultural examples of walking as madness is the epidemic of fugue allegedly observed by late-nineteenth century psychologists. The sufferer from fugue was a

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man who suddenly and inexplicably walked away from everything, a condition that also implied memory loss. In this paper, I will consider these and further examples also from W.G. Sebald and Nick Papadimitriou to investigate the ambivalent discourses linking walking and the psyche and explore ideas on walking as involved with revitalisation as well as dissolution of the mind. When is walking considered a cure? When is it a symptom? And how are these relationships conveyed textually?

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PANEL 5A MARK JAMES || TIM OFFER -- Ambulation; Appraisal, Proposal, Approach. Using the exhibition Ambulation (Plymouth 2010) as a case study we wish to examine, appraise and propose how future exhibitions that deal with this subject can actively engage a public through walking and situate a starting point. Ambulation was exhibition, series of events, films and new commissions by artists and architects who use walking as an artistic practice. It featured commissioned tours exploring the city through its histories, and distinctive anomalies. The artists and architects were invited to pose new work and offer their own take and position upon the ideas of walking as an artistic practice and on Plymouth. Included within the exhibition was The Itinerant Toolkit (I.T), a temporal archive centered on journeying as an artistic practice. Key questions raised by Ambulation were the need for quorum and the danger that the exhibition becomes one person deep. Secondly, how to develop a support mechanism that allows us to remove ourselves from the prosaic gallery setting and the constraints that this imposes. Through using El Lissitzkys and Frederick Kiselers exhibition strategies where they blended the complexities of architectural space with narrative concerns, the paper will address key curatorial and design elements that allow walking practice to develop/start and finish from a temporal hub situated outside the white cube. The paper will also propose a new edition of I.T where setting up an embedded unit can engage and develop a ongoing dialogue within a community, rather than a self referential exercise, thus developing a collective worth and sense of belonging. STEPHEN HODGE || SIMON PERSIGHETTI || PHIL SMITH || CATHY TURNER (WRIGHTS & SITES) -- The Architect-Walker: Manifesto and Manifestations In 2005, Wrights & Sites produced A Manifesto for a New Walking Culture , which was first performed at the sixth Walk21 conference in Zrich and has since been published in Performance Research and in Nicolas Whybrows anthology, Performance and the Contemporary City. In 2013, we are considering the ways in which that 'walking culture' contributes to, or might contribute to architecture. When does the walker become an architect and conversely, when does architecture go on a walk? This contribution to the conference, a performative paper in four parts, will draw on our own experiments with walking and architecture (e.g. mis-guided , BBI Festival, 2008; Everything you need to build a town is here, Wonders of Weston, 2010; Ambulant Architectures, Sideways Itinerant Festival, 2012), as well as referencing the convergence of walking and architecture by other artists, architects and walkers (such as Constructivist kiosks, Jan Gehl's Life Between Buildings, Ron Herron's Walking City). We will also draw on observations we have made when drifting. ZOE ANDERSON A Guide to Walking This paper questions the validity if the artists walk in terms of the 'purity' of walking. It asks the question, 'should artists walks, and walking artists, be separated by a new set of terms?' TIM BRENNAN -- STOP! DONT WALK! Saying Goodbye to Tom, Dick, and Henrietta In this paper I will describe how the attitudinal basis of being an artist has underpinned my navigation of the built environment. I will outline my manipulation of the guided-walk form as discursive performance to highlight political fissures and rupture in places traveled through, and paused at along the way over the last 25 years of my itinerant practice. Examples of my walking methodology (The Manoeuvre), formed in the mid 1990s will reveal that my walk-works have been seminal to what is now a popular currency for contemporary artists. At the time of formulation my practice was consciously peripheral to the reconfigured commodity/celebrity focused market of the young British artist - through a solitary walk that acknowledged the journeys made (by a few others) through land art but brought older traditions of viewing the landskip, of the doing of history, our ethnographies, anthropologies and geographies into the everyday. What was, then, for a long time a solo activity is now but one of many modes of walking enquiry and entertainment available to the artist. Art walking is, in fact, the new venture capitalism of the contemporary visual arts, whether it be as primary performance, documented activity or as a performative salve to commodity fetishism - problems of cultural capital that were actively confronted when I took small groups on discursive walks around St. George-in-the-East, Friern Barnet Pauper Lunatic Asylum or the British Museum some 15-20 years ago. An unraveling of the methodology will be ordered alongside anecdotes of descent, dissent and disorder from the 50 or so discreet walks I have made across the UK and further afield - it will embrace the live performance, guidebook and app whilst problematising the object and trace anew to close this chapter of my oeuvre.

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PANEL 5B AMY TODMAN (University of Glasgow) Walking the Five Sisters at Silbury Hill West Lothians vast and contested shale bings, products of fracking introduced in the mid nineteenth-century, have recently been recognized, and walked, as sites of ecological value, as well as gaining a place within local folk-lore and art history. Reviled during the 1970s as national eyesores, this period also saw their re-imagining by the artist John Latham, who imbued the heaps with a Goddess mythology. Lathams residency with the Scottish Office, using found surveys taken from the air, made a virtue of the bings notoriety, claiming them as an immaculate monument/an inescapable doom. Despite this, they remain oddities in the landscape, often looked over, but rarely looked out from. I will walk Lathams five sisters range employing GIS way finding technology, and overlaying my journey with the visionary eyes and feet of the early-eighteenth century antiquarian William Stukeley, who pioneered walking as integral to his surveying practice. Indeed, it was his extensive tours of Silbury hill in Wiltshire, and the theatrical scenography of his resulting imagery, that he believed had allowed his reconstruction of the site as a great picture of an animal laid down by the druids. Lathams and Stukeleys emblematic visions are linked through the survey of a landscape from a range of viewing platforms, and at differing scales. Re-creating Stukeleys tour, adapting and updating his detailed surveys on the unfamiliar territory of the bings, is memorial to the possibilities of mobile viewing, connecting the record of the past with its present in often unexpected ways. This contested site, formed of the spoils of industrial waste, is here granted the careful attention Stukeley accorded to ancient landmarks. Considering the nature of information captured and noting changes to the site, its wider topographies, as well as memories, weather, chance meetings and customary use of the land, produces new visualisations; the moving pictures of Sibury and the bings explored through the medium of the walk. AMY JONES (Swansea University) -- Walking Wales: Experience, movement, and a sense of place on the Wales Coast Path This paper focuses on the physical act of walking the recently completed Wales Coast Path (WCP), a continuous path along the whole Welsh coastline. It investigates ways in which experiences of the WCP are understood, felt and sensed through the bodily actions and performances of walking. The material dimension of the WCP is fundamental to this study as it impacts on the experiences of the different people who walk along this costal space. Likewise, how people engage with the materiality of the path is significant to their experiences. This draws attention to issues of affordances; that is, the quality of the environment which enables people to perform an action such as walking, and how this coastal environment affords the body a variety of actions and sensations. The paper will focus on mobility and the movement of people along the WCP, particularly on the fact that it enables movement along the entire coastal perimeter of Wales. It will concentrate principally on how being able to walk the coast of Wales may facilitate senses of cultural attachment and belonging to the land; to others who walk the WCP; and to Welsh identity. Cultural attachment can also involve issues of language; hence an additional focus on how physically walking the WCP may connect people to the Welsh language. This is a unique opportunity to explore a region like no other, Wales being the only nation with a continuous path along its coastline.

CHARLOTTE JONES (Loughborough University) Sensory Score as Research Tool Walking the canal tow-paths of Staffordshire, how can the sounds, textures, sights and smells encountered, be captured in visual form? What happens when Klees Twittering birds meet Messiaens Petites Esqisses doiseaux? This paper is concerned with the translation of the sensorial experience of a walk to visual representation in the form of a sensory score or sensory collage. The paper explores the sensory score as a valid research tool, a methodology or method of analysis fit to examine the urban/rural landscape. The paper examines methods used by the World Soundscape Project to represent a soundscape alongside the graphic/visual signs used within graphic scores such as those collated by John Cage in his Publication Notations. Existing methods of graphic notation are examined including acoustic, phonetic and musical notations. The argument is that it is possible to build on the above to develop a multi-sensory representation more akin to the experience encountered when walking. Central to the proposal of the sensory score is the relationship between musical concepts and visual elements e.g. pitch to line, dynamics to perspective. Can sound be effectively translated using graphic signs to visual form? Further more, can textures be effectively translated using frottage and imprint to visual form? The paper considers current scholarship regarding the experience of walking, and addresses problems associated with the displacement of sensory experience from location and the transferability of graphic representations, in an attempt to propose a visual translation process

RUBY WALLIS (National College of Art and Design, Dublin) -- Autowalks - is it possible to define 'place' through artistic practice? This paper explores a series of experimental and philosophical attempts to represent place through walking and the use of film and

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photography. The methodology is a practice called Autowalks. This is underpinned by an auto-ethnographic researching style; the methodology explores space and place and partakes in a mood of meta-discourse. I have attempted to subvert an authoritative autobiographical voice by the collection of multiple experiences. Drawing on the writings of Judith Butler, Merleau-Ponty, Roberta Mock and Catherine Russell this paper will focus on one part of a larger project on an alternative community in the West of Ireland. This is a walking/oral practice in which I invite members of a community to explore the geographical space and speak about their personal experience of it.This approach seeks to gather non-narrative pieces of video as experimental research to reflect on the way individuals experience the site. The methodology allows for introspective dialogue to be recorded. The rural nature of the site allows a certain amount of solitude. A person can easily walk through the space and talk to the camera without encountering another being. My aim is to find an embodied and experiential way of defining place, which moves beyond language and objective documentary practice to connect with place in a sensory way through random movement. Questioning whether it is possible to represent a place without it becoming a fixed view; the evasion and determination of a definition of 'place' becomes apparent throughout this paper. During the twenty minutes some of the short films and photographic stills will be shown demonstrate the practice of Autowalks.

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PANEL 6A PROFESSOR BRUCE BAUGH (Thompson Rivers University) -- Retracing and remembering: in the steps of Andr Breton and Nadja Can past memory traces be reanimated by retracing someone elses steps? In 2008, I went to Paris to retrace the steps of Breton and Nadja as recounted in Bretons 1928 memoir, Najda . By following their footsteps, could I lose my present in their past, remember what they perceived, and so return to their past to haunt it? Retracing their lost steps investigates the relation of perception and memory, especially the relationship between material cultural markers (places, buildings, street names) and the memories called up through their association with a cultural narrative: not Nadja, but the history of Surrealisms intimate connection with walking in Paris. I use works on remembering as the reactivation of material traces from hermeneutic theory (Droysen, Dilthey); R. G. Collingwoods The Idea of History on re-enacting the past; Kierkegaard and Heideggers theory of repetition or summoning back the past as a present possibility; Freud on memory and neural pathways; as well as Michel de Certeaus reflections on place, narrative and memory in The Practice of Everyday Life. The doublehaunting of the present by past traces and of the past by present experiences are thought with the help Jacques Derridas work on traces and haunting and Karen Tills thesis that individuals may come into contact with past lives through objects, natures, and remnants that haunt the contemporary landscape and reanimate them. The presentation will be accompanied by PowerPoint slides documenting my Paris walks and providing the context for Breton and the philosophical approaches used. ASLI OZGEN-TUNCER (University of Amsterdam) -- Cinematic Pedestrianism, or the Emergence of Cinematic Movement. Cinema not only puts movement in the image, it also puts movement in the mind. One naturally goes from philosophy to cinema, but also from cinema to philosophy. --- Gilles Deleuze. The human figure walking is the subject matter of the earliest cinematographic images, e.g. those of Muybridge and Marey. These images are not only aesthetic registers of a widespread scientific fascination with the phenomenon of movement that marked the late 19th and early 20th centuries. They also served as technological tools for understanding the universe, perceived as a machine of a myriad moving parts, through the newfound photographic medium. In this context, movement, defined along the inseparable axes of body, space and time, was considered to be best observed in the basic act of walking. This paper focuses on such a philosophy and its social, political, and aesthetic consequences, which further shaped or accompanied the history of cinema up to present. In my presentation, I will concentrate on how scientific fascination with movement in the 19th century translated into a cinematic aesthetics of movement (for example, cinematic tropes of flnerie, porous framing of the pedestrian, fluidity of the shot, urban aesthetics of rhythm). In this newfound aesthetics, a mobile body moving in and out of the frame usually transforms the spatial, temporal, and political organization of the frame. With this transformation taking place on the level of aesthetics, the aesthetical layer itself becomes a political statement. From this perspective, it could be argued that the image of walking emerged and unfolded in cinema (for example in extended wanderings so characteristic of Italian Neorealism, and French Nouvelle Vague) as an epitome of a philosophy and politics of movement. In my presentation, I aim to discuss this philosophy of movement via selected scenes from Rene Clairs Paris Qui Dort (1925) and to open up the floor for a more general discussion about the notion of cinematic pedestrianism as well as its political implications, which is the focus of my doctoral research. ERNIE KROEGER (Thompson Rivers University) -- On Walking and Photography: Henri Cartier-Bresson and Garry Winogrand Walking and photography became associated as early as the 1850s through the figure of the flneur. Victor Fournel wrote: This man is a roving daguerreotype that preserves the least traces... His idea of a strolling photographer recording images is a fanciful interpretation of what photography was actually capable of at the time. It was also prescient, as the invention of detective cameras in the 1880s, and 35mm hand-held cameras such as the Leica in the 1920s, would make this type of photography possible. My intent is to link walking and photography but I want to free the photographers I discuss from the type-casting of the flneur. Most street photographers have been too easily associated with this character which not only stereotypes them but also limits interpretation of their work. Though there are many great street photographers, I will limit my discussion to two: the Frenchman, Henri Cartier-Bresson, and the American, Garry Winogrand, working respectively in Europe and the United States; the Old World and the New World. My further intention is to look at the images of the two renowned photographers to see if there is evidence of more than the roving eye. I will look for clues of their physical involvement with the world they move through and photograph. Finally, I believe these photographers are more akin to athletes than idle strollers.

PHILIPPE GUILLAUME -- Walking, Photography and Thirdspace along Boulevard Saint-Laurent Boulevard Saint-Laurent is a central artery that cuts across the island of Montreal, charged with generations of cultural, social and geographical ramification. During two years (2010-2012), I repeatedly walked and photographed the entire 23 kilometers of this street for the creation of an interdisciplinary artwork. Since the 1960s, boulevard Saint-Laurent has been the nexus of distinctive creative urban projects embedded in walking; these works produced photographs and data that reveal different approaches and interpretations for this place that involve formal and conceptual methodologies. Walking and photography each contribute distinctive experiences with urban space. When joined by creative strategies, these two mediums result in yet another distinctive understanding and representation of the city. This paper will examine boulevard Saint-Laurent as ambulated place, and how combining walking and photography translates into heuristic space. I will show how direct experience and different photographic works including my own project, provide the framework to a codified experience to this urban corridor. Edward Soja discusses Thirdspace as a means of engaging spatial analysis beyond the binary of real and imagined places; his approach comprehends both the material and mental dimensions of spatiality but [] also moves beyond them to new and different modes of spatial thinking. I will argue for the agency of photographic projects marked by the ontological presence of walking; the

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function of the unmediated part of the walking/photography framework in stimulating new conceptualizations of this urban corridor will be the focus of critical examination.

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PANEL 6B BARBARA LOUNDER (Nova Scotia College of Art and Design) -- The Longest (Ongoing) Walk: Walking as Protest and Commemoration In 1978, Anishinabe leader Dennis Banks and other members of AIM (the American Indian Movement) started The Longest Walk , a spiritual and political trek from Alcatraz Island in California to Washington DC. It built on the 1968 Trail of Broken Treaties caravan, focusing attention on the plight of Native Americans. Like earlier walks and marches of Gandhi and Martin Luther King, it was an act of civil disobedience that captured attention around the world. In the Fall of 2012 members of First Nations communities in Canada started a social-media based campaign called Idle No More. The groups initial intent was to protest cuts to federal programs for native Canadians, but it quickly became a vehicle for more far-reaching demands, as well as a visible celebration of native culture. Inspired by this, a group of young Cree from northern Quebec set out on a 1500 km spiritual and political quest, the Journey of Nishiyuu. They and thousands of supporters are to arrive on Parliament Hill in Ottawa within days of this proposal deadline. Also in 2012, Mtis artist Christi Belcourt started a Facebook group called Walking With Our Sisters to launch a commemorative art project dedicated to the over 600 indigenous women missing or murdered in Canada in recent decades. The project now has hundreds of contributors around the world, and the first exhibition will open later in 2013. How and why is the long walk still a chosen form of protest and commemoration? What forms do such actions take today? JAMES LAYTON (University of Chester) -- Communitas, Ritual, and Transformation in Robert Wilsons Walking. Robert Wilsons Walking, a site specific, participatory walk along the North Norfolk coast offers the possibility of transformation and what Bergson would have described as pure, unadulterated inner continuity (1946:14). Having surrendered their time, participants are guided by angels dressed in yellow ponchos on a slow, meditative walk through a landscape punctuated by installations and soundscapes to experience the passage of time without precise markers. Despite its simplicity, Walking has the elements of a transformative experience through its rudiments of ritual. In Richard Schechners Efficacy / Entertainment braid he identifies some of the components of ritual as containing: symbolic time, audience participation and belief, collective creativity, and results. Victor Turner suggests that ritual is a transformative performance revealing major classifications, categories, and contradictions of cultural processes (Turner 1988:157). Walking does indeed offer a contradiction to the everyday process of walking; using an extremely slowed down practice of activity usually associated with getting from A to B to get C done. Approaching Walking from an autoethnographic perspective, I examine how transformation occurs whilst drawing on theories of temporality from Bergson, and observations of ritual experience and theory from Turner and others. I will also explore how Walking became a liminoid encounter that offered the possibility of transformation through spontaneous communitas, despite the participants being in a solitary, meditative state. Through the experience of communitas in Walking, the cultural framework within which normal ways of measuring time are typically adhered to, become dismantled and allow for transformation to occur. DR. MORGAN BEEBY A walk across a continent: meditations on time and ritual; space and pilgrimage In 2007 I spent 121 days walking from Mexico to Canada. Following a predefined route with no decisions on which path to take opened up time and space in which to dwell. Rituals, both voluntary and involuntary, formed the fabric of this new existence hitherto unknown to me outside of everyday life. In a journey whose event horizon preceded its completion, life became cyclic, meeting back at the same point each morning. Yet these rituals were sporadically interrupted by brief re-exposures to civilization, a reminder of progress outside ritual, toward the destination. With the narrative of this journey as background, I will describe the relationships between ritual and time that emerged, and the corresponding relationships of pilgrimage and space.

AILSA GRIEVE (University of Western Australia) -- Walking as Ceremony This paper will present the workings to date of PhD project A Contemporary Pilgriamage: Mapping Long Distance Cultural Landscapes through the Lenses of Walking and Ceremony. The project subject site is principally an Australian Indigenous dreaming track extending approximately 3000k non-linearly through the local and trans-local landscapes of coastal-edge to desert-interior Western Australia. The project considers all matter of distances and their potential ceremonial anecdote the distance between the ancient Aboriginal past of mythic-landscape to the more recent colonial past of landscape conquest; the distance the path covers, and the places it connects en-route; the cross-cultural collaborative distance between contemporary Australian Aboriginals, and non-Aboriginal Australians; and the distance between qualitative and quantitative research.

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PANEL 7 ANDREW TOLAND (UNIVERSITY OF HONG KONG) -- WALKING LANDSCAPE URBANISM In April and May 2011 I walked 1200 kilometres around the island of Shikoku in Japan. I was following the ancient Buddhist pilgrimage route known as the Henro Michi. When I told them, most people visualised an extended stroll around a giant Zen garden, or a scroll painting come to life. The reality was much more brutal. Most of it was by the side of a highway though the endless, sprawling wasteland of Japanese exurbia. This paper considers walking as a medium for developing and deepening Landscape Urbanism as a theoretical position within contemporary Landscape and Architectural theory, using this experience of Japans contemporary landscape as a starting point. To date, the theory of Landscape Urbanism has relied on two increasingly important techniques of representation within the built environment disciplines: satellite/aerial photography, and the field diagram. These techniques are fundamentally distancing and totalising, placing the subject and the object into an abstract relationship. They are part of the continuing legacy of modernist theory and representation in the landscape and architectural disciplines. Walking as a medium of experience does the opposite. It embeds the subject in the urban environment, and allows for an important corrective to the distancing tendencies of other modes of experience through representation. This paper examines the implications of walking and representation for our current understanding of both landscape and urbanisation within the landscape and architectural disciplines.

DARREN CARLAW -- 21st Century Flneur? Reinterpreting the literary urban wanderer for the new millennium. The intention of this paper is to critically interrogate the political, cultural and ethnographic ramifications of the urban walking narrative as it develops and mutates across the arc of almost two centuries. Before turning to examine contemporary poetry and prose, I begin by piecing together a brief photo-fit of the nineteenth century Parisian flneur. In doing so, I acknowledge the existence of devices resembling literary flnerie found in the coney-catching and Theophrastian character books of sixteenth century London, but argue that the origins of walking as an identifiable and pervasive creative/artistic force lie in Baudelaires Paris. I demonstrate how the flneur was in essence a product of bourgeois urbanism a manner of celebrating the magnificence of the city. From the era of high flnerie to the present day, I then examine how the literary device of the urban walker has been reappropriated by the citys excluded others as a bohemian/artistic means of exposing tension within the multicultural, multiracial twenty and twenty-first century metropolis. Using New York City as an example, I critically analyse walking narratives in the work of James Baldwin, David Wojanrowicz and Sarah Schulman as a means of revealing how a specialist literary street-level reading of the city serves to expose de facto racial segregation, the vulnerability of the poor, and the threat of gentrification to a lesbian community, respectively. I conclude by discussing how the flneur device continues to mutate by drawing upon of the moment walking narratives received by StepAway Magazine, a literary journal of which I am editor. RUDI VAN ETTEGER (Wagenigen University) -- Wish you were here, Walking with me This paper is on walking as a phenomenological tool for the aesthetic appraisal of designed landscapes. Vitruvius stated three goals for architecture firmness functionality and beauty. If landscape architects state that designed landscapes are to be experienced as aesthetically appealing, then a way should be found to find out whether this goal has been achieved. One way would be to ask people in the landscape to appraise the landscape they are in. However a critical misunderstanding might occur. The confusion over whether landscape is something to be overseen in one gaze, as opposed to something that unfolds, like in a walk, can taint reports on the quality of a landscape. To avoid this misunderstanding and to test a different method for appraisal I have chosen to do a series of walks in the designed landscape of the Island of Walcheren in order to evaluate it aesthetically. I have chosen for a radical first person phenomenological approach. The paper describes methodological considerations and some of the advantages of a walk and its description over positivistic GIS-based methods, some of the experiences on the walk, as well as conclusions on the usefulness of walking for aesthetical appraisal. I will try to convey the sense of Wish you were here that I experienced on this walk. The talk is illustrated with a selection of the photographic images taken during the walk. CHRISTOPHER COLLIER (University of Essex) -- The Contemporary Drive Recombination and Recomposition The drive , as a specific method of politically and aesthetically engaged walking, was defined and developed by the mid!20th century Letterist International, yet has continued to exert influence over later aesthetico!political activities. Enjoying a resurgence in the 1990s, it has seen further renewal within contemporary practices. However, these later iterations reflect a number of critical problems back upon the historical tradition. With reference to the work of a number of autonomist thinkers, I propose that recent artistic iterations of the drive, often fail to account for

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the convergence of their playful, participatory fluidity with the recombinant modes of subject construction that characterise neoliberal biopower. Likewise the artistic drive , despite often being conceived as an emancipatory practice, holds a number of blindspots with regards its own implication in processes of enclosure and circulation, along with valorization and social reproduction. These need to be taken into account before such assumptions to emancipatory consequence can be vindicated. To what degree can artistic uses of drive be seen as both a normalisation and valorization of precarity? Conversely how has the tactic of drive been utilised towards a critique of such precarization? Having examined the above proposition with reference to a number of practices, I ask if, as Claire Bishop has proposed, arts spectacle!participation binary has been collapsed under the paradigm of networked connectivity, must one reappraisal contemporary drive as socially!engaged artistic or political practice, and how does this inform our considerations upon the drive as a historical tradition of aesthetically and politically engaged walking.

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PANEL 8A AILEEN HARVEY Walking, Art, and Non-Pictorial Representations of Landscape The talk focuses on non-pictorial artistic strategies, in particular within art practices that make significant use of walking. I argue that certain approaches to art-making are well suited to representing the experience of landscape and that these approaches are not simply descriptive, or are not descriptive at all. Further, such methods are a natural fit with walking which undoes the static singular viewpoint on a landscape and emphasises the embodied and temporal aspects of perceiving. I begin with some non-visual aspects of drawing and painting. Irene Kopelman, Roni Horn and Donald Urquhart offer reference points: for drawing as expressive of the circumstances of making, and of a process of careful attention that can re-trace a person's physical and emotional presence, at a time, within a landscape. Drawing on phenomenological analyses of the experience of sculpture (cf Alex Potts), I look at works by Gabriel Orozco and Francis Als as sculptural memorialisations of a walk, via indexical marking or physical coding of narrative. This leads on to poetics (cf Elizabeth Helsinger on literary landscape; text works by Richard Long), and then back to the imprint especially the use of material abstraction (for example, Helen Mirra's work) and related methods that inherit structures, hierarchies or causal relationships from the material landscape.These approaches suggest a move beyond thinking of art as visual image the correlate of not conceptualising the human subject as an eye and a broader consideration of how an artwork engages with place, individual experience, and abstract ideas. KRIS DARBY (University of Exeter) Cant We Stay Here?: A Lone Twin Non-Trip In the last decade we have witnessed the emergence of a significant number of walking-based performances. Within this, there has also been a wave of such performances that transgress beyond the material properties of site itself, displacing the walker from the site walked. Such works, existing either as a studio production, performative paper or a provocative/instructional publication, concern a walk that cannot be grasped in the instant, existing as it does elsewhere in time and space. In this paper I wish to demonstrate how such pedestrian performances can challenge current paradigms of site-based work by highlighting the merits of getting a distance (Heddon, 2003) from the site performed. In illustrating this, I apply Robert Smithsons concept of the non-site (1968:111) to Lone Twins WALK WITH ME, WALK WITH ME, WILL SOMEBODY PLEASE WALK WITH ME (2002-2006). In this performance as lecture (Laing, 2011:156), Gregg Whelan and Gary Winters present a journey of their journeys, flirting with the thresholds between inside and outside, non-site and site. I assert here that whilst deferring attention to walks they have undertaken previously, Lone Twin rearrange and edit these respective experiences into a conceptual journey or non-trip (Smithson, 1996:364) for their audience to follow. DR. JO VERGUNST (University of Aberdeen) -- Watercolours and walking art: treading the politics of landscape with Hamish Fulton This paper takes its lead from comments made by artist Hamish Fulton. Fulton says that although he appreciates that people enjoy painting watercolour scenes, he does not wish to make such pictures. And similarly although he appreciates that people enjoy going on walks organised by the Ramblers Association, he does not wish to walk in that way. I want to follow the links between walking and art using my ethnographic fieldwork in north east Scotland. Drawing on different kinds of art practice there, I will explore the contrast implied by Fulton between scenic landscape painting and alternative forms of environmental art. Where the former seemingly tries to make a representation of reality, the latter can suggest a more direct relation of making present. What kind of relations with the landscape are then implied by different kinds of walking? And specifically, what might Fultons problem be with how the Ramblers Association walk? We could distinguish the structured and somewhat hierarchical trips of such clubs from more improvised walking. Fultons art also makes reference to Tibetan Buddhist ambulatory practices and invokes the politics of landscape as well as spirituality. In Scotland, radical outdoor access reforms are re-shaping the ways that walking can happen. Where watercolour painting usually entails a distanced view onto a landscape, other art forms need closer and more multi-sensory access. The papers ends by asking how governance of the landscape could enable different kinds of walking and other practices perhaps more imaginative ones to take place. DR MARK RILEY (University of Roehampton) -- Pathmarking: Walking the Heidegger Rundweg at Todtnauberg, 2010-12 This paper proposes the idea of walking as an event of sense making specifically in relation to distinguishing between ideas of landscape and terrain. It will focus on a specific locale - the hut belonging to philosopher Martin Heidegger (1889-1976) and the path marked out that circumnavigates the landscape in which it is situated. Heideggers connection with a specific locale in the Black Forest south of Freiburg; Todtnauberg, and a particular building; the wooden hut built for him in the 1920s, is well documented. As a place, it reflected and articulated Heideggers concerns with rootedness, homeland and the thinking of Being . For Heidegger the relationship between thinking and the physical experience of a locale were intrinsic to the process of making sense. His analogy of walking a forest path proposed that exploring by walking allows the territory traversed to be the guide to both exploration and thought. This paper will focus on field notes made while undertaking a number of walks over a period from 2010 until 2012 of the Heidegger Rundweg ; a designated route that traverses the perimeter of the valley where the cabin is still situated. It will describe the experience of walking the Rundweg and also reflect on wider historical issues surrounding the locale of Todtnauberg in relation to Heideggers residency there. These notes will be supplemented with contextual historical material that addresses landscape in relation to the event of walking and make a distinction between landscape and terrain as an event of ordinary affect that not only maps connections and routes but also identifies and explores its dis-junctures.

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PANEL 8B CLAIRE QUALMANN (University of East London) -- walkwalkwalk: Stories from the Bethnal Green Archive walkwalkwalk: stories from the Bethnal Green archive1 is a series of text works created from anecdotes and encounters around a walk route that passes through Bethnal Green, Whitechapel and Shoreditch in the East End of London. Generated as part of the ongoing project walkwalkwalk: an archaeology of the familiar and forgotten2. This paper will present the collection, production and dissemination of these stories in a range of formats over the last 8 years, including fly posting3, leafleting, performance and permanent installation in the form of engraved signs within the Old Bethnal Green Town Hall 4(converted to a luxury hotel in 2009/10). The texts give voice to that which is usually overlooked, and the way in which they operate varies greatly in the different forms and contexts in which we have used them. For example within the Old Town Hall they seek to present a view of the area which may be marginalised as it regenerates, speaking of a world beyond the hotel of fragile freedoms and serendipitous encounters. Embedding these tales of the everyday and overlooked into the fabric of the building seeks to celebrate these characters and their lives, commencing a new process of myth making to accompany the Blind Beggar into the future imagination of Bethnal Green. In contrast the flyposting of the stories into the route from which they were collected imagines possible encounters, moments of recognition and identification in spaces normally reserved for advertising messages or mundane public information. IDIT NATHAN (Central St. Martins College of Art and Design) -- Sites and Sights at the Throw of a Die - Making Sense of a Contested Terrain Through Walking and Playing. www.iditnathan.org.uk Idit Nathans work originates from theatre and is often playful and interactive. A recent example of a playful walk was commissioned by PVA for its Audio Lab - Language of Place is Mashi&Spielen (which means Walk and Play in Arabic and German respectively) where cards, dice and a timer were used on a silent walk to Rampisham Downs (previously home of the BBC world service transmitters), inviting participants to draw out cards with facts and anecdotes relating to the transmitters site with its imagined links to communications, play and wars over the ages. Her Seven Walks in a Holy City project, took place in 2011, is documented in '7 walks in 28 minutes' film and will be part of forthcoming Contested Sites/Sights exhibition at International New Media Gallery (due December 2013). She is currently PhD candidate at Central St Martin's College of Art and Design. Her practice led research, which examines embodied, interactive and playful artworks that reflect on aspects of the Israel Palestine conflict is titled Art of Play in Zones of Conflict - The Case of Israel Palestine. She also blogs about play and its links with conflict at http://playandconflict.wordpress.com SARA WOOKEY -- (A) (No)Body Walks in L.A. : Prompting Social and Perceptive Experiences in Los(t) Angeles Often referred to as a city where nobody walks, Los Angeless urban sprawl is often disorienting for the visitor as well as for the long-term resident. Therefore navigating a city so vast and confusing on foot becomes an absurd act. The gesture of walking in Los Angeles is the catalyst for the performance and media-based work that artist Sara Wookey has created with the city and the premise of her presentation. Her projects are examples of her interest in amplifying the role of the body as a spatial and sensory tool for navigation while prompting social, perceptive and playful behavior in a city where people are often hesitant to walk and to be in public space together. She will share her projects including BEING PEDESTRIAN, an alternative tourism campaign, excerpts from her article, "Walking LA : From Documentation to Performance " published in the International Journal of Art & Technology (V2 N3 2009) and her work with the Los Angeles Metropolitan Transportation Authority's (Metro) Art Program to develop walking tours that encourage people to ride public transport and engage in the city as a walker of it. WALTER LEWIS Walking with Gablik 'Our loss of ecstatic experience in contemporary Western society has affected every aspect of our lives and created a sense of closure, in which there seems to be no alternative, no hope, and no exit from the addictive system we have created' - Suzi Gablik in The Re-Enchantment of Art In The Re-enchantment of Art, Gablik argues passionately for the restoration of purpose and meaning to contemporary art in particular for a new paradigm whose imperatives are a revitalised sense of community, an enlarged ecological perspective, and a greater engagement with the mythic underpinnings of spiritual life. Gablik sees this necessary for the survival of both art and mankind in an age of overwhelming environmental crisis. Published in 1994, the book is as relevant and vital today as it was then, with our response to ecological crisis continuing to be muted that of the distanced and materially addicted rather than the sensual and alive. Walking with Gablik will review my use of walking as the creative platform for a contemporary photographic practice which seeks to engage with the issues raised by Gablik. My object is to reveal the rich complexity and chaos of an underlying, but superficially banal, 'more than human' world. In the midst of the frenzy and materialism of the 21st century, a sensual encounter is sought which is both emotional and aesthetic, and at the same time rich in visual allegory for the nature of a fundamental, but contemporaneously overlooked, interconnectedness.

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WALK DETAILS

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WALK 1 ALISON LLOYD Contouring, or, she canna contour I am spending some time, marking ring contours for myself and with lines of walkers taking them where I want them to go to mark or re enact micro navigations in the Dark Peak, Skye, and Glencoe. I am mixing up the worlds of contemporary art with the worlds of the outdoors. Micro navigation is a tool for planning your route and contouring is an element of this that can help you find out where you are if you are lost. It is a term that has been used, both factually and poetically.
I am on the plateau again, having gone round it like a dog in circles to see if it is a good place ... I think it is, and I am to stay up here a while. -- Nan Shepherd, The Living Mountain.

Perhaps, rather than striding out across the landscape, there is also an alternative; not better, just different and one that women artists devise through their own ways of working through process and material. I experienced this manner of walking and making work with a hill walking friend who is a trained outdoors woman. We took great pleasure in navigating our wanderings, walking out at a leisurely pace, looking for details in the contours, from map to landscape. With Glencoe behind us, Ben Nevis and the Grey Corries to our left and Rannoch Moor stretching out in front of us. WHAT I AM GOING TO DO AND WHY I will lead a group of conference participants out from the conference venue. During the walk I will endeavor to address wilderness, remoteness, anxiety and difficulty and awkwardness, and consider differentiating between being a walker and being a walking artist. I have been walking out to eight ring contours around Alport Moor and Dale west of Derwent Reservoir and south of Bleaklow in the Dark Peak. The terrain here is rough moorland and deep peat hags, extending over five square kilometers. Alport Moor, is an area known for its Mountain or Arctic Hares. Its plateau like contours were chosen because I felt it could stand in for me as the Cairngorm Plateau. A remote place, perhaps a place to experience wilderness that I could visit over and over again as a lone walker. I aim to re-claim this, romantic territory, which has been associated mainly with male artists who have walked out alone and perhaps inwardly focused, to make work in the landscape, and gather experiences through walking to make work elsewhere. I see myself striding out on my own, in ways that could be described as aggressive act of walking to my own summit and the eight remote ring contours.
We do not much need to understand the form and nature of our emotional relationship with wilderness, as to recognise that the nature of wilderness is itself formed from our emotional being. - David Reason, Reflections of Wilderness and Pike Land Pond

WHAT YOU ARE GOING TO GET OUT OF IT Investigating emotional being by reflecting on fear, anxiety, and awkwardness in our relationship to these places where getting lost or feeling lost can take us into another emotional being. Changes that may happen as you have placed one foot in front of another to get from the start. WALK 2 IDIT NATHAN AND HELEN STRATFORD Walk & Play, Sunder & Land Walk & Play, Sunder & Land is a site specific, playful and participatory walking event. In our respective practices as well as collaboratively we have playfully explored, what spaces and places mean to people and how they might interact with them. For Walk & Play, Sunder & Land (we will create a participatory walk that plays with notions of splitting apart and deconstructing as well as land and belonging.

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