Category Archives: data visualization

Kate McLean, Smellfie Kit (2015)

A smellwalking guide. The smellscape is the smell equivalent of a visual landscape.

people smelling a bench

This activity crafted by Kate McLean identifies 3 categories of smells:

  1. curious / unexpected smells are the short-lived, individually noted smells of the city e.g. books/paper, perfume on a passer-by, metal, paint, marshmallow, old books
  2. episodic smells reveal specific areas of town, these are localized smells e.g. wet fish, flowers, fried food, medicine
  3. background smells form a context, these are seen as a constant e.g. canal dampness, humidity and spicy cooking aromas against which all other smells reside

And identifies 3 modes of smelling:

  1. Smell catching (passive smelling)
  2. Smell hunting (active smelling)
  3. Free smelling (a combo of the two)

The activity walks participants through various descriptive reflective writing prompts. It provides a helpful chart for organizing observations and collecting data. It provides options for solo, pair, and group outings. Available via McLean’s website.

[backup version]

 

Heath Bunting and Kayle Brandon, BorderXing (2002)

“BorderXing, a 2002 commission for the Tate Gallery in London, in which Mr. Bunting, 37, and Ms. Brandon, 28, documented illegal treks they made across European borders.

“I’ve always wanted to be nomadic — to beg, borrow, find things,” Mr. Bunting said. He travels light, often with no change of clothes and only a few basics: a penknife, a diary, a passport.

The BorderXing Web site, available for individual use by request (at irational.org/cgi-bin/border/clients/ deny.pl) offers pictures, suggested routes and tips for evading the authorities. A vacation slide show of the couple’s journey is on view at the New Museum, as well as online, without registration, at duo.irational.org/borderxing–slide–show.

Despite the political provocation involved, the project retains the aura of a pilgrimage — to be close to the land, to throw off the weight of nationality and statehood, simply to put one foot in front of the other and go.

… BorderXing is concerned with the physical, visceral aspects of travel…” [credit] [full article as PDF]

Heath Bunting and Kayle Brandon, D’Fence Cuts (2001)

“Heath Bunting emerged from the 1980s art scene committed to building open, democratic communications systems and social contexts. Throughout his career, he has explored multiple media including graffiti and performance art and has staged numerous interventionist projects, as well as being a pioneer in the field of Internet Art. Bunting began collaborating with artist Kyle Brandon in 2001.” [credit]

These artists devised a circular tour (see map), and by night stealthily cut some fences as part of their Borderxing project. BorderXing serves as a pratical guide to crossing major international borders, legally or illegally. It was a type of physical hacking of space, cutting anything that impeded their walk – D’Fence Cuts. Below is an excerpt from their tour de fence catalog:

“tour de fence is the answer to your real needs. while the internet promised to level out all barriers, tour de fence enables you to surmount the fences out there that people erect to obstruct your way every day. from wire netting to ru­ stic fence, from steel door to close security system, tour de fence offers you the necessary know-how for unhampered movement. tour de fence is the direct way.

learn offroad mobility within high security architecture. cross over stretches of land in the right direction. penetrate the underground area of your city. tour de fence puts an end to the relocation of your movements into virtual space. use the tour de fence! become a tour de fence amateur team. pass this handbook on to others. propagate tour de fence.

by doing so you will become part of the international tour de fence community. as a reader, a free-climber or by sending one of the 24 tour de fence postcard in this book.

participate now! tour de fence’s vision is to do what we want.

tour de fence acknowledges fence as metaphor for private property. fence as a supposedly temporary, often mobile barrier performing functions of inclusion and exclusion, entrapment and guided freedom, decoration, safety, user boun­ dary, protection from hazard, flow control, visual screening and user separation.

fence is a permeable filter system defining permitted use and users. light, wind, insects, water, plants and sound pass unhindered while high order life forms such as·humans, fish, cattle and cars are engaged:

development of fence.

up to now the vertical has generally been private while the horizontal public. increasingly, vertical fences are being rotated to the horizontal and enlarged over large areas of land, as all use and users are embraced in total control.

tour de fence recognises the transformation of framed freedom into restricted open-range roaming; the re-alignment of unknown possibilities into known re­ peatables. users are permitted to skate across flattened surface of fence, but not to pass through – the fence is everywhere.” (credit)

Walk & Squawk, The Walking Project (2003-2006)

photos of a performance project

Walk and Squawk, The Walking Project (2003-2006)

“The Drawing Project began in Detroit in 1999 and became an interdisciplinary performance, mapping and cultural-exchange project collaboratively developed by Walk & Squawk (Hilary Ramsden and Erika Block), with U.S. and South Africa-based artists and communities during a series of residencies in Detroit and KwaZulu-Natal from 2003 through 2006. Inspired by desire lines people made across vacant lots in Detroit and across fields in South Africa we explored the paths we walk and how they are formed through culture, geography, language, economics and love. We looked at how changing our patterns of movement can alter our attitudes and perception, how taking a different path can alter our lives. We discovered how learning language alters the actual paths in our brains and how taking a car means something very different from taking a walk.” [credit]

Barbara Lounder, Stamp Sticks (2007)

“During a 2007 Walking and Art residency at the Banff Centre, I made walking sticks and related devices, exploring ways in which walking leaves traces and tracks in the landscape. Walking in the Banff area brings a certain frisson; there is always the possibility of dangerous encounters with other species, the elements, and difficult terrain.” [credit]

Dillon de Give, The Coyote Walks (2009-2017)

“An annual walking project that illustrates a connection between New York City and the wild. It was originally performed to commemorate the spirit of “Hal”, a coyote who appeared in Central Park in 2006 and died shortly after being captured and re-released in the forest. The walk begins in the city and remains within sight of a coyote-like path for three days before ending in a relatively wild area. The Coyote Walk has run as an itinerancy, or walking residency since 2014.” [credit]

“It is collaborative research, a retreat (in an almost literal sense), or a mindful holiday. Prospective fellow walkers may share an interest in related subjects, such as urban planning, folk/visual/movement/social arts, biology or other natural sciences. Participants must be prepared for a strenuous walk (approx. 15 miles per day) and for sleeping outside. Please note, differently abled walkers are encouraged to be in touch.” [credit]

Additional images and writing www.coyotewalks.wordpress.com

“I grew up in the Southwest US (Santa Fe, NM— where coyotes are ever-present both as biological entities and as cultural signifiers). I witnessed this event in the media while living in New York City, and continued to think about it in the years following. I began to feel that a larger narrative was looming behind the topical debates. The incident threw the relationship of the city dweller and the natural world into relief.  It wasnʼt an abstract suggestion of interconnection between the two; it was a (momentary) unmediated instance of collision– a moment of confusion for both. Hal disrupted a normal state of affairs by presenting himself as an embodiment of something external to our picture of daily life in an orderly civilization. In this he was as comedic as he was threatening. Was this a typical animal or an exceptional one? What was he thinking? And how, exactly, did he find his way into the city?

One way to try to understand this story was to guess about the geography of the journey.  The most obvious geographic challenge is the channel of water that separates the island of Manhattan from the mainland of the Bronx– like a moat surrounding a castle. Adrian Benepe, the NYC Parks Commissioner at the time, publicly hypothesized that Hal crossed a small Amtrack trestle bridge over the Spuyten Duyvil Creek at the northern tip of the Manhattan. This became a prevailing theory, but not the only possible one. Other scenarios were equally possible. For example, if Hal had utilized the long Bronx River corridor as a path, he might have crossed over the Harlem River further south and east. Because there were few eyewitness accounts, no camera traps, and no DNA analysis done on Hal, the definite crossing location will remain unknown. This crossing is a big plot point of the story as presented in the media. It came to stand for the dramatic moment in which a cunning trickster privately transgressed from the natural world into the human world. Looking closely at possible routes however, it becomes clear that there were many such crossings.

The Coyote Walks are fueled by curiosity about what it would mean to cross over the line between “the city” and “nature” oneself, to literally connect the two places. The walks are guesses about how coyotes enter New York City that are made with reverse human journeys out of the city. The project began as a kind of memorial to the incident— walked around the anniversary of Hal’s death and initially called the “laH” journey, a backwards spelling of the name. The Coyote Walk is now a time to pose questions about urban life and nature, to learn from the experience of stepping away from the city, and to consider walking practices (human and animal) as imaginative acts.” [credit]

Artist writing:

  • Unpacking (after) a coyote walk. Walking Lab residency, 2017. Link.

  • Connective filaments, coyote walks on the map. Living Maps Review No. 2, 2017.
    Link / Download PDF

  • Tracking the call of the wild from the heart of Manhattan. NYNJ Trailwalker Summer 2012. Download PDF

Speaking:

  • Artists and the Post Industrial Urban Wilderness, Union Docs, 2017. Link

  • Chance Ecologies Symposium, Queens Museum, 2016. Link

  • Re-inscribing the City: Unitary Urbanism Today, Anarchist Book Fair, 2011. Link

Referenced:

  • Urban Coyotes Spur Walks on the wild side. CUNY NYCity News Service. Audio piece by Samia Bouzid

  • “‘Uurga shig’ – What is it like to be a lasso?” Hermione Spriggs, Journal of Material Culture, 2016. Link

  • Out Walking the Dog blog, Melissa Cooper 2011-12. Link

  • City Reliquary event write up in Matt Levy’s Action Direction blog, 2009. Link

Claudia Zeiske, Walking Lunches (2010-2020)

images from walking lunches

Claudia Zeiske, Walking Lunches (2010-2020)

[credit]

“Claudia Zeiske is a keen walker and founding director of Deveron Projects.

Walking Lunches are a series of moving meetings between Claudia Zeiske and artists, arts professionals and other participants.

Claudia provides a written agenda prior to the walking lunch, as well as sandwiches and tea during the walk. The lunch partner brings a camera and takes three pictures (portrait, landscape, still-life) on the walk. Afterwards Claudia writes minutes and archives them, along with the images taken by the partner.

Interested in a walking lunch? Contact Claudia

Recommended: good shoes, waterproofs, hat and gloves

Walking Lunches are an adaptation of ‘working lunches’, combining the purpose of a business meeting with fitness and environment appreciation. The idea is that instead of lunch-time meetings people are encouraged to undertake movable get-togethers, where they walk for the duration of a normal meeting (i.e. between 1-2 hours). Targeted for busy people who want to keep fit but can’t ‘afford’ the time.

‘The intention is to set up a network of walking lunchers which has a snowball effect over a 6 month period. These moving meetings will be orchestrated by myself; each week I will encourage at least one other person to walk. The walking partner in turn will commit to undertake at least 2 further walking lunches. If successful this project should create an exponential rise in the number of people walking over the 6 months of the project. If everybody I walk with (minimum 26 people), walks with at least two other people, this will already be 26+2×26 = 78 people. One can imagine how much this number will go up if every one of those walkers encourages 2 more walkers, and they in turn do the same…..’ Claudia Zeiske”

Iman Tajik, Under One Sky (2020)

composite image of sky

Iman Tajik, Under One Sky (2020)

“Wherever you are in the world, we are all under one sky

Iman Tajik is a Glasgow based artist and photographer originally from Iran. Borders and the movement of freedom are his key subject matters – influenced by his personal experience of crossing borders. He was working with us over the summer on a mass worldwide border-free walking project.

The Coronavirus pandemic has adopted an increasing fear of the outsider into our lives and homes. Some of our politicians’ rhetoric about Covid-19 being a ‘foreign virus’; subsequent border closures – they all play into existing xenophobia. The virus however, doesn’t acknowledge borders. A pandemic affected us all. So, what can we do to show that we all live under one sky?

Iman Tajik explored global solidarity through the reimagining of our annual Slow Marathon walking event. Instead of our annual place-based mass walk, this year’s Slow Marathon: Under One Sky took place collaboratively – by myriad participants around the globe. Cumulatively, mile by mile, we wended our human trail across the surface of our planet and through as many borders as we could. To do this, Iman forged a digitally collaborative relationship with many walkers, exploring the ideological interplay/conflict of borders and the virus; the lines we humans create traversing the landscape when free to do so; and the plight of those being denied that freedom – by the virus or by socio-political means. For this he collected images from walkers of the sky they saw while walking, to be brought together in a massive artwork of all of us Under One Sky.

The Under One Sky project and its event, Slow Marathon 2020 supported Scottish Detainee Visitors, who provide friendship and advocacy for residents of Dungavel House, Scotland’s only immigration detention centre.

In total, the Under One Sky project included 320 global walkers, who walked 41,725.46km – that’s 104.12% of the way around the Earth!” [credit]

Amanda Heng, I Walk from the South to the North (2017)

This work saw Heng travelling alone on foot from Clifford Pier to the Causeway checkpoint in Woodlands. This solo walk continued Amanda’s interest in rituals, exchanges and their relationship with live performance in daily life.

“Heng has been a central figure in Singaporean performance art as well as feminist discourse in Singapore since the 1980s.

In 2017, Heng performed “I Walk From The South To The North” which constitutes a series of daily walks spanning the duration of two months (September – November). … From my perspective, this work is a comment on the breakneck speed at which Singapore develops. Bridges, skyscrapers and entire parks are built in the span of a few months. The urban landscape morphs and mutates unforgivingly. How do people hold on to memory and history?

It also reads to me as a reflection on technology and how we wield it in our contemporary lives to ‘make lives easier’. Singapore is a technologically advanced country with a highly comprehensive transport system. What is the point of walking anywhere anymore? Smartphones are ubiquitous, Google Maps is the most sensible mode of navigation. What is the point of talking to anyone, asking for directions anymore? Heng’s work brings focus back to the physical and social nature of the body and sheds light on the effects which technology has on that.

Could you tell us a bit more about your most recent walk from Clifford Pier to the Causeway which you took from September to November 2017?

It is titled “I Walk from the South to the North”. The participation is a little different from my previous walks. I deliberately do not get myself acquainted with the route so I start to ask around for directions so where I go depends entirely on who I chance upon and how forthcoming they are. I’d get these people to draw out maps or write out directions and these form part of the documentation for this project. Many people I approached were generous with their help and were surprised I wanted to walk so far. They kept insisting it was much faster to take the MRT nearby.” [credit]

 

Jennifer West, One Mile Parkour Film (2012)

woman laying film on the ground

Jennifer West, One Mile Parkour Film (September 13, 2012; 7am-11pm)

[credit]

“Location: Entire length of the High Line, from Gansevoort to West 30th Streets

Jennifer West is known for using unusual materials to alter her films, drawings, and collages. She has used coal-tar dye, eyeliner, whiskey, hot sauce, deodorant, and even skateboard wheels. For the High Line, West has staged a public performance by taping a one-mile-long 35mm filmstrip to the High Line pathway for one day during park hours. The thousands of visitors to the High Line that day are invited to leave their mark on the filmstrip with their shoes, heels, and hand prints to etch the film with the walkway’s many surfaces. Visitors are encouraged to wear stilettos, tennis shoes, combat boots, bare feet, or other shoes that to significantly alter the film. After the performance, the filmstrip will be treated with related materials and actions, a signature of West’s work.

The 59-minute filmstrip features images shot by West and her crew in June 2012 of New York locations typically not accessible to the general public. The film also features performances by two New York-based Parkour artists, Thomas Dolan and Vertical Jimenez. Best known for their ability to spontaneous run through urban environments and rooftops, their flips, jumps, rolls, and handstands were double-exposed over images shot around the High Line.

After the performance, the marked-up film will then be transferred to high definition digital format and shown on the High Line in October.

Splash Dance
9:00 – 10:00 AM
Diller – von Furstenberg Sundeck & Water Feature, on the High Line between West 14th and West 15th Streets
Elementary school students from Public School 3 in the West Village perform a playful dance to tunes by legendary pop star Michael Jackson. The same dance will be performed twice over the course of the hour.

Art Station
2:00 – 4:00 PM
14th Street Passage , on the High Line at West 14th Street
Stop by the semi-enclosed passageway on the High Line at West 14th Street to manipulate the celluloid film strip with various materials and tools.

Parkour Performance
9:00 –10:00 PM
On the High Line under The Standard, New York
Parkour dancers, called traceurs, will perform on the celluloid film strip, which contains images of the same traceurs performing in other locations at the High Line. Parkour is type of physical activity focused on effortlessly maneuvering around obstacles with speed and efficiency.

(1,2) Photo by Michael Seto; (3,5) Photo by Maggie Romano; (4,7) Photo by Scott Lynch; (6,8) Photo courtesy Friends of the High Line; (9) Photo by Liz Ligon; (10) Photo by Select Nights. 

Artist bio

Jennifer West (b. California) lives and works in Los Angeles. Recent solo exhibitions include Marc Foxx, Los Angeles (2013); S1 Artspace, Sheffield, England (2012); Vilma Gold, London (2011); Contemporary Art Museum, Houston (2010); Western Bridge, Seattle (2010); Kunstverein Nuremberg, Nuremberg (2010); Transmission Gallery, Glasgow (2008), and White Columns, New York (2007). She was an Artist in Residence at the MIT List Visual Arts Center and has been commissioned for special projects at the Tate Modern, London and the Aspen Art Museum, Colorado. Her work has been included in group exhibitions at the Saatchi Collection Gallery, London (2012); Henry Moore Foundation, Leeds (2012); Remap, Athens (2011); White Columns, New York (2011); Schirn Kunsthalle Frankfurt, Germany (2010); and the Seattle Art Museum, Seattle (2010), among many others. West was shortlisted for the 2012 3rd Annual Nam June Paik Center Award in Korea.”