Basically it is an account in photographs and text (there was also a film) of a six-day backpacking hike through the Snowmass Wilderness of Colorado. The expedition became for him “one of those short times that subjectively is greater than a lifetime.”
|By Patrick Dow
“Walking Tools is a project undertaken by Angela Black, Nichol Bernardo, Micha Cardenas, Cicero Silva, Steve Durie, Chris Head, Atom Leonhart, Todd Margolis, Jason Najarro, Chloe Sanossian, and lead by Brett Stalbaum, academics from the University of California San Deigo (UCSD) in which they used a loose confederation of software and related art and/or education projects across various languages, platforms and disciplines to share standards for content delivery and management of Global Positioning Satellite (GPS) data (by defining an XML schema extension to the standard GPX schema), allowing media and other data to be associated with GPS data.” Source: http://www.walkingtools.net/?page_id=2
Fostered under the umbrella of the walkingtools.net website and “brand” (owned and controlled by Brett Stalbaum and UCSD as an open source software project), the supporting software for the project is titled the Walkingtools Reference APIs. (III A iv 14) Brett Stalbaum was the primary software architect and programmer for this project, which began in 2007 in collaboration with Cicero Silva, currently of the Federal University of Juiz de Fora, Brazil. The HiperGps/HiperGeo project is actually three different related softwares.
The first part is software that runs on inexpensive mobile phones that can direct a user on a tour of points of interest in a geographic area. It uses map and compass metaphors depending on GPS, and is capable of playing audio and displaying an image at the locations chosen by authors. This software was partially developed and first tested in a workshop with New Zealand students during the SCANZ 2009 Raranga Tangata Artist Residency (III A iii 28) in conjunction with the education program at at the Puke Ariki Museum Library in New Plymouth,on the West Coast of the North Island of New Zealand, from January 26th to February 8th 2009. The end result was a project titled the “Pukekura Park Demonstration/Environment and Sustainability GPS Tours.” (Section III A iv 1)
The second part of the software was developed for numerous workshops held in Brazil in 2009, including the 41st Winter Festival in Diamantina, Minas Gerais, hosted by the Federal University of Belo Horizonte (Section III A iv 2) and a Workshop titled “Locative Media: Theory and Practice” at the FILE Festival in Sao Paulo. (Section III A iv 3.) Another workshop was later held at UCSB. (Section III A iv 4). This software is a GUI for normal Mac/Windows/Linux desktops that facilitates producing content for mobile phones.
Essentially, it is a deployer for the mobile phone software (see above), allowing students to take latitude and longitude values, images, audio files and easily combine them into compiled bundles of mobile phone software that can then be loaded on a handset for use. The software allows non-technical creators to produce locative narrative tours for standard java mobile phones, and is especially targeted at beginning or casual users.
Brett Stalbaum has regularly assigned a project using this software in VIS40/ICAM 40 during the 2009/2010 academic year, where it helps facilitate a number of key skills. To produce a HiperGps project it is required that students learn to edit both images and audio files, and that the students conceptualise and plan an artistically interesting self-guiding audio tour of the UCSD campus, and ultimately deploy it to an actual mobile phone and demonstrates their work for critique.
Students have produced work ranging from the serious the to silly, from the simple to the sublime, and from the shortsighted to the significant. But they are introduced to emerging locative media art-making practice in a short three week assignment, all because HiperGps abstracts the normally highly technical computer programming tasks into simple actions taken in a familiar graphical user interface language designed to be easy to use. The project was in fact motivated by Brett Stalbaum and Cicero Silva’s desire to quickly introduce students to the practice of locative media in a practical way.
An important document that Brett Stalbaum authored is a manual that lays out HiperGps uses and techniques that is used in his classes. (III A i 5) Overall, this project represents the central piece of his educational research, and has proven to be a success in his teaching.
The third part of the software consists of a server-side web application that currently allows two activities. First, users of the HiperGps GUI could use it’s HiperGeo features to upload their tours to a web server. Second, features of the HiperGps application itself can contact that service and search for another’s content in the mobile phone user’s current location, download and “play” that content, creating a context for sharing.
The first version of these server features was implemented during a few weeks in residence at the Edith Russ Site for Media Art, Oldenburg, Germany, in the summer of 2009. That software was part of the exhibition Landscape 2.0 that took place from August 29 through November 15, 2009 in Oldenburg, and where the public was first able to interact with and create/share their own mobile narratives. (See also nice Catalog at III A ii 5.) In addition, and based on a commitment to include undergraduates in research, HiperGps/HiperGeo’s role in theLandscape 2.0 exhibition was supported through a CALIT2 Summer Internship Program in which recent graduate Nichole Benardo helped with design and some web programming tasks. Another student involved in HiperGps/HiperGeo related work was Anubhav Chorpa, who worked on starting a parallel iPhone SDK version of the mobile software for two quarters of CSE 199 special studies.
Other professional accomplishments were related to the Transborder Immigrant Tool project, which is multi-researcher effort out of the B.A.N.G. Lab led by Ricardo Dominguez at CALIT2. Brett Stalbaum’s research contributions to that project have been directed toward software development and testing, culminating in 2010 with a working demonstration version of a public safety software platform including software for mobile phones and desktop computer. The mobile code is in part based on the Walkingtools Reference APIs (III A iv 14).
|The idea was to provide the location of water stations in the along the Mexico-USA border by linking the information to mobile phones. The project is considered controversial by many within the conservative US establishment who accused members of encouraging and promoting illegal immigration. This caused some members of the project to be investigated by the UCSD and the UCSD Police Department. Source: http://www.walkingtools.net/Brett Stalbaum however maintains the project is an attempt to save lives, and prevent the unnecessary deaths of those attempting to enter the US illegally by crossing the deserts that line the US-Mexico border, who will still attempt to cross into the US regardless.
Source: Brett Stalbaum’s electronic corresspondance August 2010.A video is available:
Link to AP Video on Transborder Immigrant Tool Project
People most associated with the walkingtools HipeGps project are: Cicero Silva and myself, assisted by Nichol Bernardo.
TBtool: Ricardo Dominguez, myself, (Co-PIs) and Amy Carroll, Jason Najarro, Chloe Sanossian, Micha Cardenas, and Elle Mehrmand.
Link to New Media wiki home
“Breathing-in-the-Breathable is an on-going collaborative artwork by Robert Bean and Barbara Lounder. Their project presents walking as experience, public art and pedagogy. To date, the artists have contextualized this artwork in relation to four sites; 1) Breathing-in-the-Breathable: an annotated walk (2017) on the ruins of a tuberculosis sanatorium in the Polish town of Sokołowsko; 2) Breathing-in-the-Breathable: Weathering (2018) based on a number of walks in the Lake District; 3) Breathing-in-the-Breathable: The Commons (2019) in Halifax, Nova Scotia; 4) Being-in-the Breathable: 44.649589,-63.574150 (2019) a public walk and installation based on a visit to Halifax in 1973 by the Japenese Conceptual artist, On Kawara.
This participatory project utilizes event scores, objects, sound, and walking to consider how the atmosphere and environment are made explicit through militarism and the climate crises. Along with the site-specific projects, the concept of “being-in-the-breathable” (Sloterdijk, 2009) provides Bean and Lounder with an adaptive framework for this collaborative artwork. The project engages an understanding of walking as an experiential method which simultaneously disturbs histories, ideologies and habits and also generates new networks of meaning spanning temporal frames, public spaces, disciplinary boundaries, and embodied sensorial modalities (Ingold and Vergunst, 2008).” (credit)
I like to think of drawing as a broad term, not limited to pencil on paper. Drawing is a record and a representation. It can be a record of what something looks like, or it can represent a location, or an action. It can be a record of an event, or an idea, but it isn’t mistaken for any of these things, it is not a substitute. I draw by moving through spaces based on systems. The artifacts of these journeys are records of those drawings.
I create systems to experience spaces through movement and labor. I make art by creating maps, drawings, photos, and videos that utilize the virtual understandings of space to create systems and formulas to actually experience those spaces. Ideally, the presentation of the formulas and systems along with the visual manifestation of the work will influence the viewers into considering and possibly experiencing their own spaces differently…. but that’s a lot to ask. Maybe someone just wants to look at it, and I’m good with that.” (credit)
“For twenty-two years I have made the hour long drive from my house in Cerrillos to my office at the University of New Mexico. For this piece, I decided to walk to work. I strapped on a backpack, headed out my door and walked as straight a line as possible (given the variations in topography, land ownership, etc.) to my office at UNM. Along the roughly 50 mile trek across ranch land, the Sandia Mountains and the northeast quadrant of Albuquerque I recorded my perceptions from the perspective of a lone hiker walking across the land.
This work is part of a series of “Physiocartographies.” Started in 2003 in the field with the Land Arts of the American West mobile studio, the physiocartographies series combines the abstraction of cartographic maps with the physical act of walking the surface of the planet to create portraits of place. In the various works from this series I follow prescribed paths across the landscape using a gps unit to navigate and record points, a camera to shoot images and a digital recorder to capture sounds. The final works appear as reconstructed maps, videos and installations.” (credit)
“ALL THE NAMES FOR EVERYTHING, Walk/Performance, 2017
Beverly Buchanan (1940-2015)
“This text originally appeared in ART PAPERS Fall/Winter 2020, Monumental Interventions, as part of a special dossier highlighting seven artists who have fought—and continue the fight—to transform their public spaces by uncovering suppressed histories, resisting oppression, and telling formerly silenced truths.
Beverly Buchanan’s practice referenced southern vernacular architecture to interrogate relationships between Black people, history, and the landscape. In 1981 Buchanan (1940–2015) placed a triangular formation of three sculptural mounds on the edge of the tidal marsh in Brunswick, GA. Titled Marsh Ruins, the large amorphous forms were made by layering concrete and tabby—a concrete made from lime, water, sand, oyster shells, and ash—and then staining the forms brown. This grouping is the most referenced work in the series of sculptural markers Buchanan placed in Georgia to memorialize sites of Black presence. Buchanan often explored the concept of ruination to uncover the transformative powers of distress and destruction. These markers symbolically bear witness to the 1803 mass suicide of enslaved Igbo people who collectively drowned themselves off the coast of nearby St. Simons Island. Although their exodus was forced by the traumatic capture and abuse of their bodies, their act of defiance made them free. The work remains visible to the public, though it is not clearly marked and blends in with its natural surroundings.
Tabby was used throughout the American South to construct shacks and quarters for enslaved people. This material functions as a protective shield for Marsh Ruins. Buchanan’s use of tabby, rather than such enduring materials as marble or steel, gestures to the material historically employed to construct Black people’s homes, which she revered. Vulnerable to nature and unstable marsh ground, these forms were intended to be lost to erosion. Buchanan welcomed nature to shift, fragment, and disintegrate her sculptures, knowing that, like the body, they would one day be completely obscured or forgotten. Succumbing to the earth, the materials live on in new forms. Marsh Ruins rejects the representational form of conventional monuments and memorials to speak poetically through the languages of materiality and ephemerality.” (credit)
There is also a 96-page book on this artwork.
“Sebastián Díaz Morales (1975-), Pasajes IV, Digital video / HD format / 22’40 min on 5:30 hs loop / 2013, 32’’ monitor; Character: Maya Watanabe
This idea follows the same narrative, concept and structure as of former Pasajes video series.
In the so far three Pasajes video works a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This is the geography of a story expressed in an alteration to the normal, which so far aroused from a montage of urban spaces.
In this proposed formulation of Pasajes the video explores the landscape of Patagonia.
Crisscrossing this territory in the search of the differences on the landscape, a character as a guide, unites different territories disconnected in its geography, as essential pieces of a puzzle to understand this region’s present.” (credit)
“Slow Walkers of Whycocomagh and Fast Walkers of Whycocomagh came about to address
what seems like an age-old problem: how to spend time walking with other people who
have an ideal pace different from your own. Negotiating precisely what “slow” and “fast”
looked like on any given day was an interesting part of the experience, as was noticing the different relationships to each other and the landscape facilitated by the different speeds. This piece was originally part of a larger project, the Whycocomagh Skillshare, which was conceived of in response to living in a rural context, in an intentional community that centres people labelled with intellectual disabilities. The skillshare took form as an ongoing series of free workshops, presentations and activities and was an attempt to actively seek out connection, engagement and exchange while challenging normative ideas of expertise and value. Since then, the slow walking groups have taken place in a mall in Mississauga, along rivers and downtown streets in Cambridge and on a mountain trail in Banff.”
Credit: Outdoor School: Contemporary Environmental Art edited by Amish Morrell and Diane Borsato. Page 120.
“August 1-September 27, 2017: The Walk
In the New Field, Public Studio walked the entirety of the 900km Bruce Trail while actively exploring the question: What does decolonization look like?
Along the trail, Public Studio invited by artists, activists, scientists, writers, curators, philosophers, and youth groups to join them and activate the footpath as a way of sharing knowledge across a diverse public. Indigenous writer and “geomythologist” Lenore Keeshig lead Public Studio across the unceded territory of the Chippewas of the Nawash; artist and theatre director Ange Loft lead a tour that included theatre warm-up exercises and a discussion of land acknowledgments; Geologist and director of the Bruce Trail Conservancy Beth Gilhespy chronicled land formations, activist and artist Syrus Marcus Ware led thirty five kids on a botanical drawing walk; multidisciplinary artist Diane Borsato brought art students, a western botanist and a traditional Indigenous medicine woman into dialogue; and writer and critic Amish Morell’s graduate students walked, read poetry and reimagined the land at a reconstructed Iroquoian village archaeological site.
September 28 -30, 2017
The Creative Time Summit: Of Homelands and Revolutions
Stage Design & Closing Ceremony
On September 30, 2017 a public choir demanded the end to extraction and colonial destruction, to war and displacement driven by economic greed. On this day we demanded the earth be re-centered together with people and that the Canadian government include the Rights of Nature into the Charter of Rights and Freedoms. Public Studio together with Hiba Abdallah created the set for Creative Time Summit and with collaborators Ange Loft and Terri-Lynne Williams-Davidson staged the performance of the Rights of Nature, a document based on Haida ideology demanding that nature be inscribed in Canada’s constitution.
“Public Studio is the collective art practice of filmmaker Elle Flanders and architect Tamira Sawatzky. Public Studio creates large-scale public art works, lens-based works, films, and immersive installations. Grounded in the personal, social, and political implications of landscape, Public Studio’s multidisciplinary practice engages themes of political dissent, war and militarization, and ecology and urbanization, through the activation of site. Public Studio often works in collaboration with other artists.” (credit)