Differences
This shows you the differences between two versions of the page.
Both sides previous revision Previous revision Next revision | Previous revision Next revisionBoth sides next revision | ||
two_legged_research [2021-10-14 09:20] – cocky | two_legged_research [2021-10-31 13:49] – cocky | ||
---|---|---|---|
Line 3: | Line 3: | ||
notes | notes | ||
- | ==== title ==== | + | |
* [[https:// | * [[https:// | ||
- | |||
- | < | ||
- | </ | ||
- | introduction course | + | |
- | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | + | |
+ | Two-legged | ||
+ | is a course for true wanderers into an exploration of experimental walking. | ||
+ | |||
+ | A walk can be considered as 'a transitory experience where our deep human rhytms coincide with their environment.' | ||
+ | |||
+ | You will explore different methods with a particular focus on duration, instruction, | ||
+ | |||
+ | This course is inspired by diverse walking practices, from the ancient Songlines of the Australian continent, to the Drunken Dragon walks from China, from the migrations of animals and plants, to the tourist hike and audio tours, from the wandering philosophers and psycho-geographers, | ||
+ | |||
+ | Which unexpected perceptions, | ||
+ | |||
+ | |||
+ | Walking - ‘Move at a regular pace by lifting and setting down each foot in turn, never having both feet off the ground at once’ | ||
+ | |||
+ | |||
+ | _____ | ||
+ | The Walking Seminar. Embodied Research Methodologies in emergent Anthropocene Landscapes https:// | ||
<fc # | <fc # | ||
* The Rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series. This creates an odd consonance between internal and external passage, one that suggests athat the mind is also a landscape of sorts and that walking is one way to traverse it. Rebecca Solnit, Wanderlust: a history of walking. | * The Rhythm of walking generates a kind of rhythm of thinking, and the passage through a landscape echoes or stimulates the passage through a series. This creates an odd consonance between internal and external passage, one that suggests athat the mind is also a landscape of sorts and that walking is one way to traverse it. Rebecca Solnit, Wanderlust: a history of walking. | ||
- | * she describes walking as a state in which the mind, the body and the world are alingned, as though they were three characters finally in concersation with each other, three notes suddenly make a chord. According to Solnit, the walking agreement not only provides a pleasant or healing feeling, which we all know, but also promotes creativity; during the walk, the passing landscape becomes, as it were, intertwined with your thought world, which also becomes a landscape. The new ideas that gradually emerge feel more familiar than usual. As though thinking were travelling | + | * she describes walking as a state in which the mind, the body and the world are alingned, as though they were three characters finally in concersation with each other, three notes suddenly make a chord. According to Solnit, the walking agreement not only provides a pleasant or healing feeling, which we all know, but also promotes creativity; during the walk, the passing landscape becomes, as it were, intertwined with your thought world, which also becomes a landscape. The new ideas that gradually emerge feel more familiar than usual. As though thinking were traveling |
- | <fc # | + | <fc # |
- | * "A thought only gains value after it has been walked through" | + | * "A thought only gains value after it has been walked through" |
* landing Sites Cocky Eek; https:// | * landing Sites Cocky Eek; https:// | ||
Line 37: | Line 51: | ||
A Line Made By Walking and England 1967. Long created this work by repeatedly walking back and forth in a field made of grass. After that, Richard Long photographed this from an angle at which light enhanced the look of the line. | A Line Made By Walking and England 1967. Long created this work by repeatedly walking back and forth in a field made of grass. After that, Richard Long photographed this from an angle at which light enhanced the look of the line. | ||
+ | * <fc # | ||
+ | check it out! plus pictures. | ||
Line 60: | Line 75: | ||
* Monty Python; Ministry of silly Walks: https:// | * Monty Python; Ministry of silly Walks: https:// | ||
- | assignment: from the exotics--- to the everyday surrounding , read text together....Embodied research in emergent Antropoceen landscapes. a walk as inspiration for a work or as a work itself... | + | |
walk step, moonwalk in between exercise: https:// | walk step, moonwalk in between exercise: https:// | ||
Line 79: | Line 94: | ||
that sometimes the only thing that one needs to enjoy their city in a new and unique way can be something as modest as a block of ice. the street, the crowds and the people who populate the street , determine his actions. | that sometimes the only thing that one needs to enjoy their city in a new and unique way can be something as modest as a block of ice. the street, the crowds and the people who populate the street , determine his actions. | ||
Passers-by and traffic always provide unexpected twists. | Passers-by and traffic always provide unexpected twists. | ||
- | In his work Narcotourismo he walked for a week through Copenhagen, each day under the influence of a different dru after followed a depression. In london he walked past houses with fences. like a small child ALuys rattled past them during his walks with a stick. Those walks culminated in a series of short films | + | In his work Narcotourismo he walked for a week through Copenhagen, each day under the influence of a different dru after followed a depression. In london he walked past houses with fences. like a small child ALys rattled past them during his walks with a stick. Those walks culminated in a series of short films |
Francis Alÿs Paradox of Praxis 1 (Sometimes making something leads to nothing)https:// | Francis Alÿs Paradox of Praxis 1 (Sometimes making something leads to nothing)https:// | ||
- | + | <fc #800000> The Lovers, The Great Wall Walk, Marina Abramovic and Ulay</ | |
- | + | What walking means in cultural history: | |
- | what walking means in cultural history: | + | |
* Homeric bards, old wanderers for whom walking was a part of poetry | * Homeric bards, old wanderers for whom walking was a part of poetry | ||
- | * the Peripatetic | + | * the Peripatetic |
* Collonade; the walking poets of the Hellenistic world, who would leave a little poem behind them them at a brook or under a shade tree where other walkers from town to town would find them, extolling the shade of the tree, the clarity and coolness of the water in the brook, | * Collonade; the walking poets of the Hellenistic world, who would leave a little poem behind them them at a brook or under a shade tree where other walkers from town to town would find them, extolling the shade of the tree, the clarity and coolness of the water in the brook, | ||
- | * The Sky- walking or Cloud-walking Taoist poets and ages, who would high uo in the mountain peaks in cloud banks | + | * The Sky- walking or Cloud-walking Taoist poets and sages, who would walk high mountain peaks in cloud banks |
| | ||
* The Buddhist walking meditation, in which excruciating slowness first the path then the heel of each foot gloms the ground. | * The Buddhist walking meditation, in which excruciating slowness first the path then the heel of each foot gloms the ground. | ||
- | * the Anabis, the great walk of the greek soldiers trapped in Persia under Xenophon | + | * the Anabasis, the great walk of the Greek soldiers trapped in Persia under Xenophon |
* the walk to the end of the world that Alexander the Great wept from inability to complete | * the walk to the end of the world that Alexander the Great wept from inability to complete | ||
- | * the wandering scholars and troubadours of the European Middle Ages | + | |
- | * Mao's Long March and Gandhi' | + | * Mao's Long March and Gandhi' |
- | * the man who ritually walked the lenght, from end to end, of every streetin | + | * the man who ritually walked the length, from end to end, of every street in Mahattan. http:// |
and so on | and so on | ||
- | walking just as a motion, as process, as a going on in life, a continuum, a mode of selfexpression | + | walking just as a motion, as process, as a going on in life, a continuum, a mode of self expression |
- | * The prostrating walk in Chine Buddhism. The monk enters a concentration or one pint-state as much as possible, faces in the direction he wishes to traverse, and lies flat on his face on the ground; when he gets up he plants his feet where his face had been when he was lying down, gathers his concentration again, and so on. It's much like the movement of an inch-worm, except that with each prostration he advances about five feet. For centuries Buddhist monks developing their vipassana concentration, | + | * The prostrating walk in Chine Buddhism. The monk enters a concentration or one pint-state as much as possible, faces in the direction he wishes to traverse, and lies flat on his face on the ground; when he gets up he plants his feet where his face had been when he was lying down, gathers his concentration again, and so on. It's much like the movement of an inch-worm, except that with each prostration he advances about five feet. For centuries Buddhist monks developing their vipassana concentration, |
+ | * (source: | ||
- | <fc # | ||
- | Relation in Space, Venice Biennale 1976. M; "our first performance was, Relation In Space in 1976 and was performed for the Venice Biennale. This idea of this piece was two naked bodies running and hitting each other frontally and increasing the speed for one hour. We really wanted to have this male and female energy put together and create something we called That Self." | ||
- | The Great Wall Walk (1988) was based in the idea of the artists walking towards each other, in theirr early work, the pair walked toward each other over and over again with great physical concentration across a small space. in the great wall the while they converged across a fast distance, their walking invoved perhaps even more mental than physical effort. | + | * Relation in Space, Venice Biennale 1976. M; "our first performance was, Relation In Space in 1976 and was performed for the Venice Biennale. This idea of this piece was two naked bodies running and hitting each other frontally and increasing the speed for one hour. We really wanted to have this male and female energy put together and create something we called That Self." |
- | (source: | + | |
- | their experience | + | * The Great Wall Walk (1988) was based in the idea of the artists walking towards each other, in theirr early work, the pair walked toward each other over and over again with great physical concentration across a small space. in the great wall the while they converged across a fast distance, their walking invoved perhaps even more mental than physical effort. |
- | Boat Emptying, Stream Entering; 3 objects which the audience is asked to use until the energy is transmitted: | + | (source: |
- | The public is invited to experience physically, with their head resting on a quartz or obsidian cushion and their body in contact with the copper, the degree of energetic emanation conveyed by the materials. | + | |
+ | |||
+ | | ||
+ | The public is invited to experience physically, with their head resting on a quartz or obsidian cushion and their body in contact with the copper, the degree of energetic emanation conveyed by the materials. | ||
+ | Boat Emptying, Stream Entering... , comes out of the experience undergone during this journey. The legends were always about the different dragons: Green dragons/ | ||
Line 115: | Line 132: | ||
* (https:// | * (https:// | ||
- | * <fc # | + | |
- | check it out! plus pictures. | + | https:// |
+ | |||
+ | |||
+ | in the old Maya culture | ||
+ | |||
+ | |||
+ | |||