Category Archives: History of Walking

The First Secession, Ancient Rome (494 BCE)

Lucius Sicinius Vellutus organized the first of the Pleb strikes. Source: (quora.com)

“In 494 BC, the plebs were fed up with the senate passing tax laws that increased the debt of the working class without offering them useful services in return. Lucius Sicinius Vellutus, a working-class pleb, suggested that the workers unite in a walk-off to protest the doings of the senate. In large numbers, the plebs walked out of the city and congregated on the Mons Sacer (“sacred mountain”) while Vellutus and others negotiated with the patricians.

The strike was a rousing success, resulting in the expungement of many plebs’ debts and the creation of the Tribune of the Plebs, the first government position to be occupied by a member of the plebeian class.”

These early strikes show civil rights have always been a human interest.

Bloody Sunday, Selma to Montgomery March (1965)

Edmund Pettus Bridge

[credit]

“On March 7, 1965, the civil rights movement in Alabama took an especially violent turn as 600 peaceful demonstrators participated in the Selma to Montgomery march to protest the killing of Black civil rights activist Jimmie Lee Jackson by a white police officer and to encourage legislation to enforce the 15th amendment.

As the protesters neared the Edmund Pettus Bridge, they were blocked by Alabama state and local police sent by Alabama governor George C. Wallace, a vocal opponent of desegregation. Refusing to stand down, protesters moved forward and were viciously beaten and teargassed by police and dozens of protesters were hospitalized.

The entire incident was televised and became known as “Bloody Sunday.” Some activists wanted to retaliate with violence, but King pushed for nonviolent protests and eventually gained federal protection for another march.”

La Monte Young, Composition 1960 #10

La Monte Young “Composition 1960 #10” (1960) typewriter ink on paper, 3 3/8 × 8 9/16in.

La Monte Young‘s Composition 1960 #10, simply states, “Draw a straight line and follow it.” Young (1935-) was a well-known member of Fluxus.

Credit: Waxman, Lori. Keep Walking Intently: The Ambulatory Art of the Surrealists, the Situationist International, and Fluxus. Sternberg Press, 2017. Page 206.

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Nam June Paik “Zen for Head” (1962) [credit]

“During the first Fluxus concert, held in Wiesbaden, Germany, in 1962, Paik performed La Monte Young’s text-based score Composition 1960 #10 (to Bob Morris), which reads, “Draw a straight line and follow it.” Paik dipped his head into a bowl of ink and proceeded to produce a line with his hands, head, and necktie as he moved down the length of a large sheet of paper laid on the floor. This performance—which gained notoriety for Paik’s rather flamboyant interpretation and execution—became known as Zen for Head.” [credit]

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Tim Brennan, iAmbic Pedometer: Ur Manoeuvre (2013)

“‘iAmbic Pedometer : Ur Manoeuvre’ [runs over 1.5 hours and] revolves around the report of Wordsworth’s mode of composition in which he would walk and utter aloud for hours on end. The work is an iPhone video of a walk made by the artist from his former home in Sunderland. Moving through inner city, suburban and open spaces, Brennan’s mumblings emerge from the sound of the traffic, shifting between semi-cogent announcement to that of the concrete poem. They collide Kurt Schwitters’ ‘ur poetry’ (another Cumbrian resident) with that of the pentameter (we hear snatches of ‘a. b. b. b. a’ – the rhyme scheme of iambic form). The artist sees this fusion as proposing Wordsworth’s early writing mode as bearing a relation to that of the Shaman, who, once induced into a separate reality may then speak in a variety of tongues to provide insight.” [credit]

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“Tim Brennan’s performance-led practice has been based around walking for over two decades. He has created over forty major works, which have ranged from a re-walking of the Jarrow March entitled, ‘Crusade’ to what might be described as guided tours concerning subjects and locations, from all of the angels on display in the British Museum (‘Museum of Angels’) to St Mark’s Square in Venice (‘Vedute’). Brennan has created such cultural counter-histories for both elevated and unexpected situations by inhabiting received stories as well as forging wholly new ones.

More recently, he has examined the idea of Northumbria as a distinct cultural region, walking through and photographing the territories defined by that ancient term. This broadened into an investigation of ‘the idea of North’, as colleague Peter Davidson has described it. In 2012, Brennan created a digital guided tour for the Durham Miners Gala, to be followed from one’s phone or mobile device.

In ‘Walk On’, Brennan presents several works including his longest completed walking work, ‘Vedute Manoeuvre’, and ‘iAmbic Pedometer’, a durational iPhone video that records his walking through Sunderland with semi-coherent mumblings that refer to both Wordsworth’s compositional strategy and to the sonic poetry of Kurt Schwitters.

Brennan’s current project – one might almost call it a campaign – entitled ‘Roman Runner’ involves the artist envisaging running the entire circumference of the Roman Empire. To date, he has traversed Hadrian’s Wall and the Antonine Wall as ultra-marathon manoeuvres. He also presents a compendium of his publications and guide books. Publishing, in tandem with walking, have been critical components of Brennan’s practice throughout his career. The two are inextricably bound together in his oeuvre.” [credit]

Tim Brennan, Vedute Manoeuvre (2011)

Tim Brennan performing his ‘Vedute’ Manoeuvre outside the Gervasuti Foundation on 01/06/2011 as part of ‘The Knowledge’ exhibition at the 54th Venice Biennale, curated by James Putnam, assistant curator Eiko Honda

“This performance and publication formed an aspect of the Exhibition ‘The Knowledge’ (a group exhibition of international artists curated by James Putnam) exhibited in the 54th Venice Biennale at Gervasuti Foundation. Brennan was specifically interested in the idea of the physical and psychological ‘view’ of an environment and how it might affect our knowledge of a place. This is especially pertinent to Venice when one considers the development of Venetian art. Canaletto was an exponent of what was to become known as ‘Veduta’ – a view painting (Plural: Vedute).

Brennan adopted a number of Canaletto images of St. Marks Square as way-markers to form the spine of a route to be walked by participants. The walker utilized a collection of view-cards (15x8x6” in all) each of which presents a different Canaletto (reproduction) view of the Palazzo. The reverse of each view-card carries a quotation that contrasts that of Caneletto’s image whilst keying into the City’s fictional and factual past. (e.g.the Camponile/bell tower is coupled with a Marinetti quote relating to the Futurist manifesto being launched from the site in 1910).

‘Vedute’ has been performed on several occasions by groups to tour St. Mark’s Square
This involves them reading the cards aloud. The periods of travel between each station enables conversational exchanges, attention to the built environment and everyday phenomena. In this way the artwork sucks the ‘everyday’ into its framework.

A performance at the opening of ‘The Knowledge’ involved Brennan orchestrating participants to read from the cards aloud whilst being transported on a workman’s barge” [credit]

person holding an image of a Venetian tower in front of the tower

Tim Brennan – Vedute Manoeuvre (2011)

“Tim Brennan’s performance-led practice has been based around walking for over two decades. He has created over forty major works, which have ranged from a re-walking of the Jarrow March entitled, ‘Crusade’ to what might be described as guided tours concerning subjects and locations, from all of the angels on display in the British Museum (‘Museum of Angels’) to St Mark’s Square in Venice (‘Vedute’). Brennan has created such cultural counter-histories for both elevated and unexpected situations by inhabiting received stories as well as forging wholly new ones.

In ‘Walk On’, Brennan presents several works including his longest completed walking work, ‘Vedute Manoeuvre’, and ‘iAmbic Pedometer’, a durational iPhone video that records his walking through Sunderland with semi-coherent mumblings that refer to both Wordsworth’s compositional strategy and to the sonic poetry of Kurt Schwitters.

Mike Collier, Prints and Billboard

[credit]

“Part of Mike Collier’s practice involves curating walks for groups of people, often with the natural historian Keith Bowey; walks that are also collaborations – slow-moving, meandering explorations of urban ‘edgelands’, those marginal and often unsung places where rural and urban coincide. The shared information recorded when ‘botanizing on the streets’ with participants is layered intuitively into the fabric of his abstract paintings and drawings constructed back in the studio. Text is important in the architecture of Collier’s work; the familiar unfamiliarity of vernacular names, dialects of birds and plants once known but fleetingly remembered, hinting back to the specificity of places and their ecological frameworks.

Recently, Collier has embarked on a collaboration with the Wordsworth Trust, working closely with the manuscripts of William and Dorothy Wordsworth (both inveterate walkers, whose walking is often vividly portrayed in these manuscripts). In the prints here (Daffodils 1 & 2 and Good Friday 1 & 2), he works simply, directly and intuitively over the image/text from the journals of Dorothy Wordsworth, responding not only to the words on the page, but to the place the words describe. He has walked these landscapes she describes many times over and understands them well.

MS JJ is a key ‘text’ in the history of Romanticism. The manuscript looks ahead to William Wordsworth’s “Two Part Prelude”, a poem with many references to Wordsworth’s extensive habit of walking and its importance in helping him to make sense of his life and art – indeed, it could be argued that this is where the West’s culture of walking began.”

Bradley Davies “Echoing Movements” 2012

Bradley Davies “Echoing Movements” 2012

[credit]

“Bradley Davies’s work is a kind of re-enactment of Vito Acconci’s seminal performance work ‘Following’ (1969). Acconci created a set of instructions which he had to follow to create a work. ‘Following’ saw the artist follow a random individual through the streets of New York until he could no longer do so, at which point he chose another individual at the location he found himself, throughout the day. However, Acconci’s photographs were created retrospectively: they were ‘staged’ rather than documentary images.

Davies’s work is, therefore, a reconstruction of a work which only ever really existed in the artist’s head, and which can only be known through images shaped and edited for our consumption subsequently. Davies’s work is also created for an age in which CCTV cameras are now endemic in urban space: walking in the city is impossible to undertake without being observed almost constantly. Britain, in particular, has more CCTV cameras per head of population than any other nation. Accordingly, any attempt to create ‘Following’ today would be quite different: the artist would be seen hundreds of times by security cameras – and his potentially threatening behavior recorded as evidence throughout the duration of the work. Davies’s work acknowledges this – our point of view being precisely that of a CCTV camera.”

Echoing Movements, 2012, film from Bradley Davies on Vimeo.

“Echoing Movements is a performance/exercise that looks at the gap between an artist, its subjects, and its viewers, from the studio to the public domain.” [credit]

Guy Debord, Drifting / Dérive (1958), Situationists

an abstract map with red arrows

Guy Debord, The Naked City

Guy Debord established the Situationist method of the dérive (drifting) as a playful technique for wandering through cities without the usual motives for movement (work or leisure activities), but instead the attractions of the terrain, with its “psycho-geographic” effects. (credit: Walk Ways catalog)

While similar to the flâneur, the dérive is influenced by urban studies (especially Henri Lefebvre). (credit: The Art of Walking: A Field Guide, 2012).

Read a more detailed account of the dérive from Debord’s “Theory of the Dérive,” first published in Internationale Situationniste #2 (Paris, December 1958): Debord-Theory_Of_The_Derive

Definition: Letting go of the usual reasons for walking – and being drawn by the affordances and attractions of the place.

The Drift or Dérive is one of the basic situationist practices advocated by Guy Debord and others. It’s a technique of rapid passage through varied ambiences. Dérives involve playful-constructive behaviour and an awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll.

Merlin Coverley mentions psychogeography has these core elements: [credit]

the political aspect,
a philosophy of opposition to the status quo,
this idea of walking, of walking the city in particular,
the idea of an urban movement,
and the psychological component of how human behaviour is affected by place

Recently the idea of the drift has been extended in the practice of Mythogeography, where its characteristics are described thus:

- Best with groups of between three and six.
- There should be no destination, only a starting point and a time. A journey to change space, not march through it.
- To drift something has to be at stake – status, certainty, identity, sleep.
- In a drift, self must be in some kind of jeopardy.
- There may need to be a catapult: starting at an unusual time of day, taking a taxi ride blindfold asking to be dropped off at a spot with no signage, leaping onto the first bus or tram you see.
- There may be a theme: wormholes, micro-worlds, peripheral vision – whatever you want.
- Be tourists in your own town.
- Use the things around you as if they were dramatic texts, act them out.
- “…on a ‘drift’ we found ourselves at a Moto Service Station on the edge of the city. In the restaurant they had a guarantee printed on little cards. They’d give you your money back if you weren’t “completely satisfied” with your meal. So we organised to meet there on our next drift with about 10 other people; we ate big breakfasts and asked for our money back, because, philosophically, a cooked breakfast could never ‘completely satisfy’ a socially and culturally healthy person, not ‘completely satisfy’ all their desires and passions, not a human being. We got the money, but more importantly numerous staff were commandeered to interview us and we turned a restaurant into a debate about desire and fulfilment.”
- The drift should be led by its periphery and guided by atmospheres not maps.
- A static drift: stay still and let the world drift to you.
- When you drift, use wrecked things you find to make new things (this is called détournement – using dead art and uncivil signs to create unfamiliar languages). Make situations: build miniature wooden villages, giant insects from branches, ritual doorways from burnt remnants, make a small model shed from the wood of a full-sized one and process it from shed to shed until you reach the sea. Construct things from what you find, enact imaginary searches, bogus investigations, gather testimonies for new religions. Just build!!! Leave stories, situations and constructions for any drifters that follow you, they’ll re-make them in their own ways.

Transcript of a Dérive

Credit to Jesse Bell, Notes on My Dunce Cap.

Time/Place begun:
Person/Persons a Party to the Initial Plan:
Description of the Dérive’s Shape:
Misunderstandings Created/ Discovered:
Signed/Dated:

Occupy Oakland protesters (2011) Photo by Noah Berger, Oakland

Connections to 21st Century

“In addition to inspiring artists, architects and urban planners, the Situationist International’s take-back of public space is credited as catalyzing the The Occupy movement.

“We are not just inspired by what happened in the Arab Spring recently, we are students of the Situationist movement…One of the key guys was Guy Debord, who wrote The Society of the Spectacle. The idea is that if you have a very powerful meme … and the moment is ripe, then that is enough to ignite a revolution. This is the background that we come out of.” – Kalle Lasn, editor and co-founder of Adbusters, the group and magazine credited for Occupy Wall Street’s initial concept and publicity.” (credit)

Exercises:

Credits and references:

Surrealism Connections

Definition of surrealism (credit): “A twentieth-century literary, philosophical and artistic movement that explored the workings of the mind, championing the irrational, the poetic and the revolutionary”

“As André Breton transferred his alliance [from Dada] to Surrealism, he continued hosting nocturnal strolls. In his 1937 novel with Jacqueline Lamba, “L’Amour Fou,” “he evokes the clamour of workers as well as revellers as they linger in the area, along with vegetables and rubbish spilling on the pavements and a profusion of other sensory experiences…past other personal ‘hubs’ in Breton’s sense of the city’s geography.”” (credit; David Pinder, “Urban Encounters: derives from Surrealism”)

Blois to Romorantin

Walk from Blois to Romorantin

In May 1924 the three founders of surrealism [including André Breton] set off haphazardly on foot on a 10-day stroll from Blois, a town picked at random from a map, to Romorantin (28 miles). Largely they “resolutely followed their lack of itinerary”, composing automatic texts during rest stops, and explored the relationship between waking life and dream life. The trip was peppered with hostility, fatigue, and disorientation, so they cut the erratic journey short.

This and further déambulations, or hypnosis via walking with disorienting loss of control, practised on the outskirts of Paris, were found expression in three novels:

Louis Aragon’s Le Paysan de Paris (1926) – describes two places in Paris in great detail, providing a realistic backdrop for surrealist spectacles such as the transformation of a shop into a seascape
André Breton’s Nadja (1928) – “one of the iconic works of the French surrealist movement”
Philippe Soupault‘s Les Dernières Nuits de Paris (1928)
see also Readux’s A little guide to the 15th Arrondissement, “a playful piece of surrealist flâneurie and psychogeography” by Roger Caillois, translated by Ryan Ruby; see article

“For the surrealists walking was about chance encounters and irrational meetings, an inspiration for their experimental writing (source).”

(credit)

Dada Connections

Tristan Tzara reads to the crowd at a “Dada excursion” at Saint-Julien-le-Pauvre church (1921) Paris

Shortly before the Dada group broke up, they advertised a series of excursions to “places that have no reason to exist.” (see poster below) These were banal places; they didn’t count the picturesque, historical interest, or sentimental value.

These trips were a way of rejecting art’s assigned urban spaces. They saw these trips as anti-art or a negation; a type of urban readymade that values spaces, actions, and experiences over objects. The dadaists wanted the total secularization of art to achieve a union between art and life, and the sublime and the quotidian. They took flânerie and raised it to the level of an aesthetic operation.

“Only one such field trip came to pass on April 14. At 3 p.m., a gaggle of Dada devotees met in the nondescript churchyard of Saint-Julien-le-Pauvre. André Breton read a manifesto and Georges Ribemont-Dessaignes parodied an official tour guide, reading arbitrary definitions from a dictionary as keys to monuments in the church yard. A scheduled auction of abstractions was cancelled due to rain, and a porcelain-repairer and peanut-seller orchestra never performed because they never showed up.”

The Dadaists understood the entertainment system of the tourism industry, which turns the city into a simulation of itself. They wanted to draw attention to this cultural void and celebrate banality or the absence of meaning.

“A month after the performance, André Breton wrote off the event’s failure, charging the audience’s expectations of and saturation in Dada antics with rendering them innocuous.” (credit; Claire Bishop, “Artificial Hells”, 66-70)

André Breton and Tristan Tzara, Excursions & Visites Dada / Premiere Visite (1921) Paris

“It was not a success, and remained the sole example. However they had an influence on getting people to look and look again, to notice and how to notice what you notice, daring to leap into the abyss and explore things in a different way.” (credit)

A dada poster and description