This

edge-ground experience became a transformative model for the visual and aural field.
Ground can be experienced as a model that informs the perception arising from other senses.

By emphasizing edges, I experience a specific relationship between the ground and my visual field.
Vision reveals what the touch already knows (Pallasma, 1996, p.42). The tactile edge-ground
accentuates my perception of edges. It emphasizes both the scapeness in the sonic and visual fields
by reaching to their extremities, and the connective lines and contours as edges within those fields.

6.3.2 Me towards and towards me perception

The visual experience is supported by my perception of ground and surfaces that are in contact
with me. I notice how the surfaces in contact with my body frame my visual field. As a reflection,
the tactile surface and experience of framing makes me experience the visual frame as if it were
framing me. It comes towards me rather then me projecting towards it. The ground moves towards
the visual and the visual towards the ground.

Figure: 7 Framing and being framed

the flow of
perceptual
motion shifts
between two
movements:
me towards
and towards
me

Copyright 2014

Frank (2007, p.27-28) explains how gravity orientation shapes the way we perceive. If we allow
ourselves to receive sensory impressions from the environment, as if they touch us or come
towards us, they will join with our weight sense in the body - we will perceive them in weight

45
orientation. If we instead gaze and project out to reach the world, we will perceive things from our
sense of space around us and it will draw us out towards their context. Shifting how we take in the
world is to shift perception from our weight oriented point of view.

A key element to my state of wandering is to allow both attentional wandering and a shifting in the
flow of perceptual motion between these two movements - me towards and towards me - allowing
the environment to come into contact with me and build a haptic sense of space.

Going back to Gallagher (2010, p. 11) questioning a sense of agency, if we consider that it is mostly
an efferent (me moving towards) motion that makes us perceive agency, then being in weight
orientation and engaging in a towards me perception - which relates to what he refers as afferent
motions (moving towards me) mainly present in involuntary actions - we could speculate that
perhaps allowing afferent perception in voluntary actions reduces our sense of agency, which might
result in an experience of synchronicity, surrendering, moving with and being moved by the
environment. Thus also fostering a state of permeability and responsiveness in dialogue with the
environment, that does not only rely on spatial attentional dynamics but also on an attentiveness
to our ground orientation.

6.3.3 Framing Events

Through perceiving me towards - towards me I was engaging in a framing process, where I could
also perceive the specificity of an event. I refer to events as framed experiences of specific
moments of haptic, visual and aural contact with the environment. Framing suggests establishing a
clear relationship and orientation between observer and the observed; events are therefore of a
relational nature, and are a complex mixture and bounding of the quality of my embodied
experience and specific textural and material qualities of what I am focusing on in the environment.
To perceive an event is to perceive specificity both in the qualities of what I am attending to and
the perceptual movement that frames it. Framing in ground orientation, events reveal a sense of
containment informed both by perceiving the clarity of textures and perceiving the extent of their
frame - their edges.

I allow the events to arrive, receiving them rather than looking for them. Noe (2004, p.165).
reminds us that there is no a neutral way to perceive and that the appearance of what we perceive
is affected by how we probe. The probing can be seen as a lens, in this case my way of probing was
attentional wandering and my experiences of those events and edges were also specific lenses that
would appear and fall away, or I would fall into them. Falling in and out of these framed

46
experiences became a way to both embrace and channel the embodied complexity of letting
oneself journey in a multifaceted environment in flux.

I noticed how my attention was moving - being a wandering and framing attention - fluidly moving
between wandering and being redirected by encounters, allowing events to form and staying with
them for a while. I found that it was possible to maintain a flow of attention whilst maintaining my
orientation toward a particular event. The experience changed depending on whether the event I
was focusing on was something that remained static or was in motion. With the static events, I
could almost have a similar relationship to that with ground, for example a constant humming
sound or details of architectural features. After the edge-ground experience, events were more
clearly related to perceiving edges, where visual and aural edges felt as if they were mirroring my
perception of ground.

6.3.4 Moving field of vision

We are present in our vision, embodied within vision as vision is in us, so that when we extend
ourselves into the world visually, we really are extending our selves, embodied.
(Carruthers, 2003, p. 6).

A perception of towards me, key to my state of wandering, also translated into focusing on space
moving as I move, rather than me moving through space, revealing insights into the kinesthetics of
seeing whilst walking and emphasising an experience of space inviting me to move and be moved
by space.

Nelson (as cited in Buckwalter, 2010, p. 121) reminds us that seeing is a kinesthetic activity.It is
interesting to notice how the body moves to satisfy the eye and what the embodied feedbacks of a
kinetic seeing are.

A score: Notice how the visual field is framed and moves in relationship with my movement

Copyright 2014

I practiced noticing how the environment moves whilst walking. Things move towards me and then
disappear behind me as I walk. As I rest the moving eyes to perceive specificity and textures of
what I am seeing I start to perceive the formation of an event. The events can be a satellite for me,

47
my re-orientation is determined by this shift from being the satellite myself to the event being the
satellite.

Through focusing on the movement of the visual field the eyes can rest and open up to the
peripheral vision, facilitating a type of seeing that allows an immersion in the moving environment
and envelops us in the flesh of the world (Pallasma, 1996, p.10). Peripheral vision significantly
affected the quality of my attention, my seeing, my moving and my perception of here. In removing
the notion of destination, the here of my feet on the ground prevails over the pull of a potential
there; allowing my steps to become lighter, more attentive and suppler, immersing myself in the
present moment and shifting my perception of distance and horizontal projection. I found myself
walking maintaining the gaze above the horizon (Appendix 4). The horizon is present in my
horizontal visual field and in manifesting itself as an unreachable horizontal distance it fills me with
a sense of moving towards and across. Gazing above the horizon level, blurs the horizon reference,
thus also my sense of directionality, questioning the sense of towards and across and reinforcing
my reference of ground, going back again towards my weight orientation. The moving field of vision
affects my movement through space, facilitating a specific reading that allows the body to be led
and re-oriented by the environment. The environment is moving towards me and inviting me to
move. I move into the ground, I no longer move towards but with. Participating in a dialogue
between the intrinsic movement of the environment and the movement of my perception allows a
moving with an environment I am a part of, rather than moving through an environment that I
observe and it is static and outside of myself.

6.3.5 Here is an extended region

The perception of edges and towards me came together into shifting my sense of here as I navigate.

A perception of towards me travels to the ground reaffirming my sense of here and having no
destination, revealing the perception of here as being an extended region. I propose that perceiving
the extent of my here is a key orientational quality of the state of wandering.

Gibson (as cited in Ingold 2000, p.238) reminds us that we experience our surroundings along our
path of observation; as we proceed along a path, the different surfaces of the environment come
into, or pass out of, our sight. These surfaces make up a vista which he proposes as a
semienclosure, a set of unhidden surfaces, . . . what is seen from here, with the proviso that here
is not a point but an extended region. Our here is formed both by where we are in order to
experience a vista, and the vista itself. This suggests that the extent of our embodied perception of
here relies on both the senses and mobility. It is formed by where we are physically on the ground,

48
the senses we are prioritizing to experience space (in his case vision) and the extent to which our
senses reach out to embrace that space; or in my view, the extent to which our senses can reach
surfaces and the edges of those surfaces. In the case of Gibsons vista, the visual field determines
the extent of here. What happens to the extent of the here without a visual field?

As I walked through Istiklal street with my eyes closed, the extent of my here extended as far as I
could reach and come into contact with aural surfaces (Appendix 5 ).

The combination of the organization and movement of elements in the environment affect how I
reach surfaces and how I am being reached by them, thus defining the extent of my coming into
contact with those surfaces. This extent defines my perception of here.

Another exploration that added to this experience of the extent of the here was walking with
earplugs where the visual field and inner movements and sounds are emphasised over external
aural field.

In this sense, my here is for the most part determined by the location and proximity of everything
that my sensorial perception comes into contact with. This here doesnt and cannot locate me; it is
transiently formed by coming into contact with different surfaces and edges of the space, these are
in constant change because of the dialogue between their moving and my moving through the
environment. Perceiving surfaces and edges doesnt only entail perceiving the contact itself, but the
extension between my here in terms of ground, ground-here, and the edge of the surface I am
coming into contact with. This extent is therefore to perceive coming into contact with the edges,
perceiving the distance between them and their moving towards me, into my ground orientation.

Figure 8: Here is an extended region

49

Copyright 2014

This clarity of the extent of my here also clarifies the edge-ground and being framed experiences.
Whereas at an earlier stage of the practice they were isolated events, now they are constantly
fluctuating in my wandering. In the case of visual edges, the optic becomes haptic and the coming
together of those isolated experiences into an extent of my here experience also transformed my
overall experience of ground. Until now I had experienced ground mostly through my awareness of
my weight and structure in dialogue with gravity. A dialogue between sensing the forces that travel
down into the ground and up through my structure, and my constant movement oscillation that
reflects my adjusting to gravity and sensing the texture of the changeable ground below me. Now,
my perception of ground is also informed by those visual and aural edges that refer back to it. It
doesnt redefine or shift my sense of gravity, rather, it places ground in a much more relational
stance with the rest of the surfaces that I am in contact with, thus affecting my orientation.

Attentiveness to gravity orientation can formulate the shape of our attention. This shaped
attention affects our orientation in space and can be described geometrically - as spherical, elliptic
etc. (Frank, 2011, p. 3) and in my case as perceiving edges, suggesting a contained and framed
perception of space and of the self oriented in space. Whilst spatial attention invites multiplicity,
attention to gravity orientation invites framing multiplicity. The dialogue between the two provides
a navigational and orientational process essential to wandering.

50


7. Walking-Drawing
(Appendix 6,7,8)

As I simultaneously walk and draw, a reading of movement dynamics in

both the body and in the environment is channelled into the trace on paper and into my walking...


Copyright 2014

7.1 A line on a walk

drawing has little to do with the projection of images and everything to do with wayfaringin a
manner very similar to what happens as one walks along in a world of heart and sky (Ingold, 2011,
p.178).

Figure 9: Walking-Drawing 1

Copyright 2014

51
Resonating with Gibsons theory of vista (1979) and my explorations of the kinesthetics of seeing,
Klee (1961) says that we need to enter the sphere of movement with our eyes, as they cannot take
in the whole all at once. Klee invites becoming resonant to the movement of the world, things in
motion change facets and we track in our bodies the transition from one to the next. We perceive
because our bodies are attuned to resonate with particular features of the world (as cited in Parry,
2011, p.25-28).

Klee (1925, 1961) proposes a phenomenology of lines, exploring them as the interaction between
our own body moving, the line moving, the environment moving and our moving perception.
Amongst several propositions on lines he offers [a]n active line on a walk, moving freely, without
goal. A walk for a walks sake. The mobility agent, is a point, shifting its position forward (Klee,
1925, p.16).

Figure 10: Klees line on a walk

Note: From Pedagogic Sketchbook (p.16), by P. Klee, 1925, London: Faber and Faber

Ingold (2007, p.72) relates his concept of wayfaring with Klees active and continuous line that
moves with no destination. This free line is a trace of a gesture and differs from a connective line
that moves from point to point that coincides with the idea of transport. The first type is defined as
walk and the second as assembly. The latter has dominated and affected perception of both travel
and place, where wayfaring is replaced by destination oriented transport, and where places are not
interlaced strands of movement and growth but node[s] in a static network of connectors.

7.2 Drawing as a movement practice

The particular ways of paying attention that I had been practicing through seeing, listening and
sensing ground, had been guiding me through the city, allowing me to immerse myself in the
moment of a continuous and emergent journey that had no sense of destination but which felt
channelled and mapped by the clarity of my embodied experiences.

52
Drawing can be a way to explore the processes of paying attention to both the inner and outer
world and explore their dialogue in motion. It channels embodied experiences into the trace on the
paper to reveal to me a specific clarity of those experiences. I consider my drawing as a movement
practice in which the moving trace is based on a dialogue between attentional movement, the
moving body and the moving environment.

I took further the drawing explorations I started alongside the Deep Listening (Olivero, 2005),
practice with a curiosity on what drawing might reveal on my walks. I started to carry a notebook
and a large piece of graphite on my walks to soon discover that I could walk and draw at the same
time and moreover that drawing clarified attentional dynamics and the coming together of my
experience of ground, seeing and listening in motion. In resonance with Klees lines study (1953,
1961) of the dynamics of spatio-temporal movement of the body, nature and perception, my lines
captured my perceptual movement as a dialogue between the moving body and moving
environment.

I started with drawing on a A4 sketchbook (Appendix 6) and then moved to using long strips of
rolled paper (Appendix 8) so that the drawing could travel spatially as my walk did and so that I
wouldnt carry the line on a walk but the line itself could go on a walk (Klee, 1925, p.16), thus
reflecting both the temporal and spatial qualities of my journey. From then the practice became a
combination of walking and walking-drawing, noticing how they were both informing each other,
towards the emergence of a more specific wandering practice.

7.3 Traces

Inspired by Klee, I experimented with tracing a continuous line following one connective line in the
environment with my eyes and drawing it at the same time. The line in space takes me on a walk
and I take the line on the paper on a walk. As you follow one continuous line you dont have much
choice on where it will go and take you, sometimes it will come back towards you, sometimes it will
go around intricate small spaces and sometimes it will run away from you propelling you forward.

This continuous line however wasnt capturing my rich embodied experience of my own moving,
the synchronicity and the relationship between the formation of events and encouters redirecting
me. I reconnected with my attentional wandering and started to let the trace synchronise with the
environment. The continuous line was not on paper but a quality of my attention and the line on
paper became rich with different kinds of marks and textures.

53
 Figure 11: Walking-Drawing 2

Copyright 2014

Klees line for a walk didnt have to be continuous, as Ingold (2007, p.74-75) suggests, to be a
wayfaring line. It is a connective tread of marks and traces on a walk rather than a line. My tracing
became varied and it was connecting and interlacing different experiences whilst channelling them
as a continuous path. It was not a point-to-point connector,(ibid. p.75) but a capturing of these
different dynamics and synchronicities, joining multiple things together. A trace can be connecting
point to point yet still wayfare if these points are mobile - not fixed in space or in your perception.

The traces, at times, moved from inner to outer perception as a continuous journey, other times
they would dynamically shift from one thing to another. As I draw I am completely immersed in my
embodied motion and the act of recording and connecting this matrix of experiences. I am
recording the trajectory of my movement through space; the movement of my attention as it
travels through my seeing, hearing and kinetic felt sense; the movement and textures of the
environment. Drawing clarified both the quality of the movement of my attention and what I was
attending to. It was merging the movement of my hand with that of sounds, it would capture
movement in my seeing; and pressures and intensities of the marks seemed to refer to my contact
with the ground. It started to reveal that I could connect all these experiences in a continuous
journey. It was channelling the complexity of my perceptual field and my moving through space
into the paper.

54
I dont keep the drawing tool in continuous contact with the paper as, after attempting this, I
realized that the drawing would end up being mainly a record of jerky traces caused by the
bounciness and rhythm of my footsteps. Instead, I allow the graphite to come in and out of contact,
this gives more space and agency to the trace, which is trying to be responsive to a multitude of
experiences and encounters.

Allowing attentional wandering, which I had practiced through my non-drawing walks, was as
important as allowing the trace to wander. This recording of my experience seemed to be an act of
translating and responding to my attention. In this translation and response there is immediacy in
the tracing and the rhythm of the lines, reflecting my walking speed and the tempo of my
footsteps, and the rhythm of the city. The trace doesnt remain a simple line but it is almost
calligraphic; it curves, jerks and zigzags, it can become a fuzzy shading or a fast scribbled motion.

Figure 12: Walking-Drawing 3

Copyright 2014

7.4 Walking-drawing practices

Surprisingly, not many artists have adventured in exploring drawing whilst walking and not many
draw whilst responding to visual, felt kinetics and sounds.

Newham (2009) explores drawing whilst walking; whilst her capturing of her visual reality is still
linked to representation, what attracted me to her work is that each walk-drawing is a new piece
with a specific structured score relating to how to walk, when to stop and what to follow. Her
scored walks made me realize that I too was developing a set of rules for my way of drawing and

55
that without realizing it, in my walking-drawing I was combining different scores from my non-
drawing walks.

Figure 13: Newhams drawing

Note: From The Pedestrian, 2009.
Retrieved from www.libres.uncg.edu/ir/uncg/listing.aspx?id=1903 By A. Newham

In positioning drawing in the dynamics of movement, drawing can exist with or without seeing it
resides in a gap betweenliminal and open-ended (Grisewood, 2010, p.2).

I place my walking-drawing practice more closely to two Grisewood (2010,2012) and Spragge
(2014) whose walking-drawing practices are concerned with capturing a dialogue between what
the landscape offers and their physical experience.

I mostly relate to Spragge (2014) whose walking-drawings are durational journeys captured on large
sheets of paper. As she walks she disregards the drawings aesthetics, letting the drawing primarily
facilitate her navigation. Her drawings, similarly to mine, are a mapping of the physical experience
through the landscape.

56
 Figure 14: Spragges drawings

Note: From Walking Drawings by F. Spragge, 2014, Retrieved from:
http://www.fosterspragge.com/walking-drawings.html

57
7.5 Drawing technique

the apprehension of movement and its gestural re-enactment, is fundamental to the practice of
drawing (Ingold, 2007, p.129).

In regards to the drawing technique, I relate my way of drawing to gesture drawing and line
drawing techniques that the above artists use. Gesture and line drawing is concerned with
movement and allows both the gesture of the hand-arm and the mark to flow.

Whilst drawing, I was completely reliant upon the immediacy of my felt and kinetic experience,
keeping my eyes on my surroundings, rather than the paper, as much as possible. The drawing was
concerned with the inner and outer movements and how they affected each other.

Gibson (1978, p. 229) reminds us that drawing and writing in the childhood develops from what he
calls the fundamental graphic act which is the making of traces on a surface that constitute a
progressive record of movement. He calls for an attentive study of this fundamental graphic act,
which seems to be diminished by wider definitions such as scribbling, dabbling, doodling etc. The
movement of the drawing or writing tool is both felt and seen thus stimulating transient
awareness of an inner and outer kinestatic experience, which is a progressive tracking of the
movement of the eyes, the hand and the lines being marked on the paper. In regards to line
drawing, he thinks, it mainly emphasise edges as lines and cant capture the shading on a curved
surface, the penumbra, a cast of shadow, textures of surfaces (ibid. p.231).

A line might not be able to directly represent them, but a gestural, scribbled drawn line can
definitely capture and record a multiplicity of experiences.

It is a channelling of experiences that results in abstraction. A channelling and translating of
experiences into a different form.

58
7.6 Abstraction: a pre-reflective approach

Figure 15: Abstraction

Copyright 2014

Through the heightened attentiveness in my reading of the environment, my embodied experience
and its synchronicity with the trace on the paper, as I draw, it feels like achieving a paradoxical
accuracy in the abstraction. For Klee (as cited in Parry, 2011, p.25) abstraction shows us pure
relationships that structure our experience of things he aimed to make visible different ways that
the world motivates the body to respond, as well as the way our body attunes us to the world.

There is a process of abstraction as encounters, sounds, ambiences, textures, shapes, colours,
kinesthesia, lines, trajectories, rhythms, distances, spatiality, movement, and edges, inner and
outer become marks on paper. At times it is like a seismograph, the intensity of the mark can
correspond to different qualities of the events, I have not, however, codified the language of how
to draw (i.e. strong mark = loud sound etc) as to do so would limit the research.

It is not a case of visual experiences becoming more abstract, but how pre-reflective contact with
the world favours abstraction. My tracing and marks on the paper emphasise an immersion in the
landscape, rather than positioning the self as an observer of that landscape. Therefore the drawing
cant be figurative, but rather, it becomes an integrated action of my being in the world like my
walking, my seeing and hearing, all of which are in dialogue with the environment rather than in a
process of capturing it.

59
Crowther (1993, p. 107), in Art and Embodiment, drawing on Ponty (1962) reflects on the creation
of images in relation to painting, making a case for a connection between primordial perception
and visual abstraction, saying that our fundamental contact with the world is pre-reflective and
involves our sensory, motor, and affective capacities, operating as a unified field. In it we make no
distinction between seeing and knowing or between visual and tactile perception. Abstract images
evoke the way things take on form through our bodys orientation towards the world and
returns us to this level of primordial perception.

7.7 Edges

Line drawing emphasised perceiving edges. Unless one purposefully blurs vision, even when
emphasizing the peripheral vision by softening the gaze or gazing above the horizon, it is still
possible to perceive edges moulding into each other. Perceiving visual edges gives a sense of
relationship between different things in a way that, for example, focusing on distances does not.
When focusing on distance, the relationship is usually limited to two things, whilst instead you can
look at a whole scene and see the relationship of multiple edges, thus also perceiving multiple
distances and connectivity. Perceiving edges in the environment is to see the contour of surfaces
and how these contours link to one another. I can see that contour because of the presence of the
surfaces next to or behind it. Whilst drawing, perceiving edges was still referencing the ground and
was not limited to the visual field but also embraced the haptic and aural, thus affecting my
perception of here and the extent of my here.

7.8 Dialogue with the mark making

Is there a delay in translating of the experience into the marking? The mark cant capture the
whole. During my first drawings I felt completely overwhelmed; even though I was walking through
small, winding and hilly street of a quiet part of Istanbul, I began to trace quite erratically in an
attempt to capture the entirety of my experience in single tracing gestures. Of course that was
going to be impossible; even the concept of capturing and translating something in the moment
would inevitably result being a delayed action.

60
Figure 16: Walking-Drawing in Istanbul 1

Copyright 2014

In my score of listening to sound to trigger visual snapshots, even if I opened my eyes immediately
after I heard a sound I would be already too late. Instead, if I allowed a synchronicity between the
sound encounters and the opening of the eyes to arise by itself I could experience a coming
together of the two in the moment. In the same way if I allowed the trace to continuously roam,
without waiting, hesitating or trying to capture, I could start experiencing a synchronicity between
the trace and what I was touching with my attention.

I shifted from trying to embrace everything to letting the trace take its own journey whilst
synchronising itself and being affected by what I was perceiving. Through this synchronicity the
drawing ceased to be simply a response to my attention and began suggesting and guiding where
my attention would go and what I would notice.

61
7.9 The gestural response and drawing guiding me

Figure 17: Walking-Drawing in Istanbul 2

Copyright 2014

The movement of the drawing - the hand moving, marking and tracing the lines and curves with a
continuous but changing rhythm - is felt both as a sort of synthesis of the movement of the
environment and a sort of internalized movement that affects the dynamics of my attention, my
footsteps and the moving eyes, thus guiding my journey.

In experiencing the graphite as an extension of the body, the drawing, in a sense, is behaving in a
similar way to how I might respond with improvised movement. The drawing is like a miniature
improvised dance, it revealed how drawing, like my improvised dancing, can be an in the moment
multi-sensorial dialogue with the environment, which can simultaneously lead both my hand on the
paper and my feet on the ground into an immersive wandering journey; marring an intricate
miniature dance on paper and a pedestrian dance on the street.

62
7.10 Long drawings (Appendix 8)

Figure 18: Long drawing

Copyright 2014

I realised that the size of the paper was dictating the duration of the journey. If the paper was full
and the trace had nowhere else to go I would usually end the walk. I decided to try a long strip of
paper and I cut rolls of lining paper, up to five meters in length, into narrower strips to begin a new
stage of walking-drawing. Now the drawing was itself going on a walk and the traces where not
overlapping onto the previous ones or looping around the square paper but could move freely. The
long drawings layered the findings from my overall attentional and orientational practice I had
experienced so far. Combining drawing whilst walking, revealed wandering as an embodied
mapping process, in which letting multiplicity, unpredictability and a place of not knowing being in
dialogue with the clarity of embodied experiences is a kind of orientational mapping that channels
multiplicity into a specific, present and unknown path.

63
8. Pathscaping: Wandering as channelling multiplicity
into a clear path

8.1 Embodied mapping

Drawing captures immediacy through heightened and fluid attentiveness.

The tracing does not just inscribe a mark but it channels multiplicity into
the mark. It connects different embodied experiences, creating a network

of traces that weave the complexities of a single moment in time. It

emphasizes the connectivity amongst the different perceived elements.

Thus creating a complex moving trace that embraces the perceived self
and environment simultaneously whilst walking. The drawing was
embracing my different embodied experiences, like events, being framed
channelling
and edge-ground .

multiplicity into a
Even though the wandering trace cant embrace the whole, in its
synchronizing it acts as a filter in which the mark is channelling more than
clear path
one experience and event; it embraces different experiences and
emphasises their connectivity and interrelation with a heightened degree
of specificity. It grasps elements of my perceptual field, emphasising its
continuity as a process of channelling multiplicity into a clear path.
Similarly to Klees active line (1925, p.16), my wandering trace moves
freely, synchronizing itself with both my embodiment and the
environment. In doing so it becomes a channelling trace that gathers
multiplicity, creating an interconnected tread of fragments, experiences
and channelling it into the walk.

Channelling is like experiencing being a conductor in which multiplicity
pass through the body and through the pencil into the paper. This
channelling, that inscribes a trace on the paper, can be seen as a mapping
of movement in the body and in space. A non-representational mapping
of an embodied and multifaceted journey. An in the moment embodied
cartography of the dialogue between environment and the physical
experience.
Copyright 2014

64

Maps are primarily about orienting oneself. Geographical mapmaking supplements our
understanding of the world around us and our place in it. Maps, however, can be explored also as a
practice of personal geography, in relation to landscape, the body, imagination and memories.
(Harmon, 2004, p. 1-19; ). In Walking and Mapping - which presents a spectrum of different
methods used by artists considered as mapping in relation to walking in urban spaces, from
performative to gps tracking approaches - ORourke (2013, p. xviii) proposes that like walking,
mapping can be and embodied experience that makes visible both the finiteness and the
expanding qualities of our perception. It can be used to map both the urban surroundings and our
action and perception as pedestrians. Maps can document the process of our traversing and
embodying the land. Fulton (2002) uses varied ways of mapping to document and convey his
walking experience (Careri, 2002, p.150-151). Longs walks are mapped in the form of conceptual
drawings that leave a trace as the result of his passage on the ground (as cited in Harmon, 2004, p.
88).

More similarly to the drawing of Spragge (2014), who maps her journey on paper whilst walking,
my drawing is an in the moment embodied and moving mapping that responds, channels and
transcribes multiplicity into the trace and into the walk, facilitating my navigation in the maze of
constantly evolving relationships. It traces the journey, engaging with embodied and spatial
organization as a way of orienting that doesnt fix, but instead allows emergence and deals with the
constant arranging and rearranging of space and the body in space.

Even without drawing, multiplicity is channelled into my walking; my inner-outer perception and
the clarity of my embodied experiences are mapped and channelled into the forward moving
motion and trajectory of my walk, affecting its speed, direction and pulse.

As I walk without drawing, I surrender to my path treaded between a multitude of different
happenings and embodied experiences. The path is a channelling of all those experiences into a
tracing, which is no longer inscribed by the pencil on paper but by my moving through space and
walking on the ground.

My walking is thus like my drawing and drawing like my walking. It is a wandering that channels
multiplicity, shaping the path I walk along, being immersed in an intersection of events that are
joined together by the continual perceptual and physical motion.

Channelling gives clarity, and paradoxically it is through that clarity that I can experience being in a
present unknown. This gathering, channelling and transferring into the paper and into the walk is a

65
process that, similarly to the gap experience (Stark Smith 1987, in Cooper Albridge, 2003 p.246),
gives you a sense of knowing in the not knowing, offering multiplicity whilst directing that
multiplicity into a clear path.

8.2 Oriented in my here

The question offered by Hay (2010, p.1) - what if my choice to surrender the pattern, and it is just
a pattern, of facing a single direction or fixing a singularly coherent idea, feeling, or object when I
am [walking] is a way of remembering to see where I am in order to surrender where I am? -
relates to my welcoming of multiplicity and multi-directionality, inviting clarity of knowing where
you are whilst surrendering to the many unknown possibilities of an emergent journey. By
surrendering to where we are, a clarity of my sense of continual here, channels this emergent
journey into perceiving a clear path, which frames and scapes my experience of the environment
and myself in it.

The dialogue between attentional wandering and ground orientation, provided a tension between
flux and containment that resulted in embracing multiplicity into framed embodied experiences
related to ground. For example, the forming and dissolving of clear events where haptic, visual and
aural experience can act as models for each other, and the extent of my here between my ground
and the further edges that come towards me and move me. This dialogue is an orienting process
that provides a clarity and maps my sense of here in motion. The question what if where I am is
what I need? (Hay 2010, p.1) is an invitation to surrender to where you are, whilst allowing
yourself to be permeable and responsive to the offers of your surroundings, suggesting being
oriented within multiplicity. Embracing multiplicity within my ground orientation and the extent of
my here channels that multiplicity into the walking and into my path.

Wandering channels and embraces permutation and interconnectedness of happenings and
embodied experiences. The dialogue between embracing and channelling multiplicity and the
clarity of framed embodied experiences related to ground, make wandering into scaping a path in
motion. A path that embraces both the moving dynamics and multidimensionality of the embodied
experience in relationship to the complexity, and multiplicity of the environment with specificity.

66
8.3 Scaping as a perceptual and orientational model

Appadurai (1996) proposes the suffixes scape and scaping as a model to detect and understand
the flow of fluid and irregular motion. Whilst he proposed terms like ethnoscapes and
mediascapes as an analysis of dynamics of globalised societies, his concept of perceiving flow as
the multifaceted, intertwined order of objects in motion and as an analysis of their relationships,
interdependence and constellation (as cited in Zoran, 2007) can be used as a perceptual model for
our experience of flow and dynamics of our motion in relationship to the motion of the
environment.

I perceive my journey as being not along paths but what I call pathscapes.
To perceive pathscapes is to perceive a sense of connectivity and treading of all my perceptual
embodied experiences as I walk. It is to perceive the dynamics of space as scaped, as an
intertwined order within the extent of my here and the specificity of my perceptual and trajectorial
walking path. Perceiving the multitude of environmental encounterings as if they were all drawn
together by the continuity of my walking into connective traces a continual path made by the
intersecting of different dynamics and species of paths.

This scaped perception of my moving here and of the environment is a framed perception, which
is not fixed or predetermined but comes into being within its emergent journey of interconnectivity
and by surrendering to change and synchronicity with the environment.

8.4 Wandering

Whilst surrendering to change, multiplicity is channelled and framed into an articulated, ordered
path that the walk sets in motion whilst being present in my here and connection with the ground.
Klee (as cited in Kaushink, 2013, p.111-112) undermines the preconception that a line originates
from a single perspectival point, proposing that it is instead generated from multiplicity and
change. It is a coming to itself from out of itself and moves only by submitting to the same forces
that hold it together. Its mobility [is] possible only by existing within liminality between stability
and instability. Moreover, this active line sets a clear path which will affect the interlacing and
relatedness with the other traces, which are conditional to the first trace and trajectory set in
motion. Once a line is established every subsequent inflection affirms a new way in which it is
relative to itself, thus the line creates a journey that is relational, organising and contradictory but
that cannot be endlessly unpredictable, and is instead revealed as an articulated order.

67
Wandering can then be experienced as the channelling of permutation into an unknown, present,
emergent and framed path. A tracing and channelling of the continual transitory gathering and
interlacing of fragments of my haptic moving experience in response to and in synchronicity with
the moving environment.

A wandering in which the active [trace] on a walk (Klee, 1953, p.16) is not only a journey on paper
but also on the ground and where wayfaring is not only a way of navigating the land (Ingold,2000;
2011) but it is also an attentional practice to navigate the perceptual field.

As we advance along a line of growth, continuously working out our route within a world in
constant change, we dont find our way, (Ingold, 2000, p.242) rather, we scape our way in our
continual being present and responsive to our surroundings and in surrendering to the complex but
framed clarity of our here, whilst channelling that complexity into the activity of our trajectorial
motion.

9. An open-ended methodology
This chapter articulates the importance of questioning the dialogue between maintaining multi-
directionality and finding containment in the practice and how this affected a final methodological
proposition for the overall practice. It elucidates how a heightened awareness of attentional
dynamics is key to a state of wandering, articulating how the embodied findings layered into three
modes of attention, and ultimately how combining these with a selection of scores provided a
strategy to methodologically frame the practice, coherently reflecting its open-ended nature.

9.1 Structuring, mapping and framing the practice

How to create a fluid frame for the practice to allow the research concept to influence and
reverberate through how I structure both my methodology and the way I process and articulate the
practice?

The question of how can exploring a state of wandering unfold a creative process and an open-
ended methodology of practice? exposed the dialogue between the fluidity of the practice and
finding containment.

In acknowledging that the practice evolved fluidly and within a wandeorous approach, and that
containment might result in fixing the findings, how can we keep a practice fluid whilst framing it?

68
The very nature of the project reflects the process involved in finding containment whilst still
allowing emergence and fluidity. Recognising the modal aspect and allowing it to reveal coherence
without pinning things down. How can we then find structures for the practice that support fluidity
and new discoveries?

Initial approaches of trying to contain and frame the practice, in order to both elucidate the main
findings and unfold a structure that would allow re-visiting and further exploration, entailed
structuring some of the key scores together. This resulted in layered scores that suggested the
wandering walks as structured improvisations. It became evident that this approach was not a
coherent strategy, as it caused a major shift from being in a state of wandering to following specific
rules. Whilst the scores I had investigated revealed specific intrinsic aspects of a state of
wandering, these new scores seemed to attempt to propose how to achieve a state of wandering
and embrace the whole practice. I dropped the layered scores and found myself noticing how,
whilst wandering, the findings and my scores were emerging by themselves.

These initial structuring attempts made me question whether the practice was ultimately turning
into a scoring methodology. Did I want to create a clear structure that would allow me to revisit the
practice? Is there a specific hierarchy of scores? If so, how can they still reflect the modal journey of
the practice and how do I avoid reducing the process into a linear progression, so as to maintain the
integrity of the modal and wanderous process I went through?

I decided not to create a structured score for the walks, instead, drawing from the spontaneous
layering of the findings that the walking-drawing revealed. I started to map the whole practice from
the point of view of what I experienced in a walk, rather than following a chronological mapping of
the project or trying to impose a specific structure. I drew maps that seemed to suggest pathways
for re-visiting the practice, but ultimately these appeared to be more about drawing connections
and clarifying the overall practice than a proposition to navigate it and take it to the next step.
(Figure 19)

It was clear that the practice was in continuous development and its nature was to remain open-
ended; therefore it didnt seem coherent to structure it and frame it to re-propose it in the same
way that it unfolded. An intuitive and spontaneous mapping, editing and layering process
throughout the research had started to shape a clear layering of the findings that suggested a
consolidation of my understanding of the practice and its new directions.

69
Mapping and framing the practice needed to function both to elucidate the central aspects of the
practice and as a method to re-propose it to myself, in a way that I could dive back into the core of
the original practice whilst being flexible and open to new emergent directions.

Figure 19: Map 1































Copyright 2014

70

Mapping and framing the practice needed to function both to elucidate the central aspects of the
practice and as a method to re-propose it to myself, in a way that I could dive back into the core of
the original practice whilst being flexible and open to new emergent directions.

I drew simpler maps (Figure 23) that revealed how all the main findings seem to relate to three
specific qualitative dynamics of attention. I then made a selection of the scores explored that
seemed to have played a crucial role in both the layering of these three attentional qualities and
the allowing a wandering state.

9.2 Three modes of attention

In surrendering to multiplicity we set into a connective trajectorial motion that articulates an
ordered flow. This dynamic trajectorial motion is first of all an attentional one.

My attentional and orientational study had been essential in allowing a wandering state. The
different findings - attentional wandering; encounters and syncronicity; ground-edge orientation,
me towards and towards me perception, framing events, the extent of my here - had been layering
and functioning as models for one another, finally becoming crystalized as three modes of
attention: Ground-Scape-Edges; Inner-Outer Line; Encounters-Synchronicity. These modes of
attention are specific qualities of the flow of my inner and outer attentional dynamics.

Wandering as pathscaping entailed a fluid journeying between these different modes of attention.
Here I present a summary of my experience of each mode of attention and how specific
experiences contributed to the clarity of these attentional dynamics, Figure 23 distils the
connections further.

Ground Scape Edges
An attentional dynamic in ground orientation as a continual awareness of ground that frames
scapeness and emphasises edges and the extent of my here.
A layering experience of: edge-ground framing scapeness in aural and visual fields (soundscape and
pheripheral view); me towards and towards me perception; perception of haptic edges in ground,
visual and aural fields which affect the extent of my here.

71
Figure 20: Ground-Scape-Edges

Copyright 2014

Inner-Outer Line
A continuous and connective inner and outer trajectory of attention.
A layering of: drawing with eyes closed following the movement of my inner and outer attention;
edge-ground and me towards and towards me perception; the continuity of walking; following a
continuous line and edges; the moving trace on the paper.

Figure 21: Inner-Outer Line

Copyright 2014

72

Encounters Synchronicity
A wounderous automatic spatial attention, affected by encounters and that allows syncronicity to
arise. A layering of: attentional wandring; focusing on movement in the environment; snapshot
scores; moments of syncronicity with the moving environemt whilst walking.

Figure 22: Encounters- Synchronicity

Copyright 2014

Figure 23: Three modes of attention

Copyright 2014

73


9.3 Methodological proposition

These modes of attention are attentional dynamics that can function as lenses for the
practice. The proposition is to combine these modes of attention with a selection of scores,
allowing their dialogue and interrelationship to be: a proposition towards wandering; invitations to
see the connections between the different findings emerging from the scores; a navigational
reference point for the practice (Appendix 9).

Initially I tried to group the scores under these three attentional modes, but this was incoherent as
the scores didnt unfold from those attentional qualities. In fact, these modes of attention were the
result of an intuitive, embodied and pre-reflective layering of the scores and the overall practice,
therefore the scores needed to remain independent.

In the process of gathering, re-writing and choosing to print the scores as cards, I found resonance
and inspiration in some scores that invite a solo improvisational practice: No time to fly (Hay, 2010);
Step by Step: small sequences for the city (Kanyon & Callaghan 2013); An everyday walk (Bannon,
2010, p.104); Traces (Midgelon, 2007); Mis-guides (Wright&Sites,2003;2006).

The scores, in the form of cards, can be taken on a walk, can be explored in different orders,
layered and revisited.

Are there strategies to practicing them? Is there a hierarchy?
As the maps from the three modes of attention suggest (Figure: 23), the invitation is to fluidly
navigate between the scores and the three qualities of attentional dynamics, letting a wandering
amongst the different scores and the modes of attention suggest connections and layering.

The methodological proposition is not conceived as the final outcome of this research, but rather as
a way to map, articulate, document and frame the practice in order to facilitate its development. It
frames a window that allows the practice to evolve rather than be fixed and contained; in a similar
way to which my framing and articulated order (Klee, 1961, as cited in Kaushink, 2013, p.111)
experience in the wandering is a way of channelling multiplicity whilst finding containment -
moving along a line of growth in which the route is continuously worked out anew within constant
change (Ingold, 2000, p.242).

74
10. Reflections and limitations

The research investigated how to allow a state of wandering and the perceptual embodied
processes involved, whilst also developing a methodology of practice that favours the process and
embodied experience over the end result of that process. The research challenged my usual
approaches to movement practice and revealed how weaving walking and drawing together can be
a rich processes for embodied and creative enquiry.

10.1 Perception
Our movement includes the movement of our perception (Frank, 2006, p.61); acquiring new
perception is an embodied process that happens by a fine-tuning of the perceptual system, novel
perceptions arise from creative acts of discovery rather than imagining, and the information on
which they are based is available to anyone attuned to pick it up. (Ingold, 2000, p.166-167). The
creative practice unfolded through engaging with the movement of my perceptual field and
acknowledging the transformative shifts in perception that have been the result of a fluid layering
of embodied knowledge alongside in-depth reflections on the nature of my experiences. Embodied
perceptual pre-reflective engagement with the world is a type of perceiving essential to artistic
practice (Ponty, 1964 as cited in Parry, 2011, p.6-11). With a specific attentional practice in dialogue
with environment we expand the potential of our perceptual field, unfolding embodied experiences
that transform our relational and creative being. Whilst the practice allowed a deep layering of
embodied findings and significant revelations in my perceptual experience, I acknowledge that, as
Frank (2006, p.62) reminds us, we easily shape our perception of self and space and tend to hold on
what we know. A future stage of the practice calls for the need to further the investigation on how
an attentional and navigational wandering approach might allow clarity of experience whilst
facilitating transformation and a non-fixed perception.

10.2 Developing an open-ended methodology

The research has laid the ground for an evolving and open-ended creative practice. However, the
short time frame of the project presented an underestimated challenge in trying to contain and
achieve a sense of a clear and coherent methodology of practice whilst engaging with new
approaches to my movement practice. It is realistic to say that it will take years of exploration
before achieving an in-depth owning of the practice, which entails gaining familiarity with new
approaches like the walking-drawing practice and attaining an in-depth understanding of the
processes and facets involved in an urban walking that is considered as an embodied
improvisational practice.

75


10.3 The methodological proposition

The collection of scores and the drawing of the three modes of attention, do not - as Traces
(Midgelon, 2007) or No time to fly (Hay, 2010) do - contain explanations, reminders or instructions
to the practitioner. At this stage of the practice they are intended for my own use as a stepping into
the potential new stages of the practice, rather than as an underscore to propose to others.
Proposing the practice to others might be a potential further development, however, I
acknowledge the time limitation of this project and believe that the practice needs further in-depth
exploration and development before opening it up to others as a clear underscore or methodology.

10.4 The urban environment

In the end, the city has to make sense; it has to be intelligible as both an aesthetic
phenomenon and as a means to pragmatic ends. After all, the city, although
intentionally planned and built and full of people going about their business, is a welter
[sic] sights, sounds and substances that push up against one another, simultaneously
vying for attention, and organically unfolding according to sometimes mysterious ends.
Making sense of this involves a duality of interests: on the one hand, perceptual
information is mediated by saliently aesthetic criteria, and on the other hand, it is
mediated by pragmatic concerns. (Barnes, 2011, para. 9).

The limited time frame meant also not acknowledging how the practice was being faced and
affected by the citys socio-cultural reality. This almost transformed the practice into one that might
alienate and undermine a social coexistence in our engagement with the urban life. This
undermining of the social aspects of the practice presented a challenge mainly when working in
Istanbul. Whilst my wandering practice was masked by what might have appeared to be a tourist
meandering I had to constantly face the reality of being an outsider in a different culture: what
might be considered unusual behaviour; acknowledging the trespassing of invisible boundaries;
how to deal with constant militarised police presence and surveillance.

I question what the value of siting this practice in a city is if we dont consider the citys pragmatic
and social concerns.

Wandering is contingent to the environment and favours dynamicity and flux; the citys shifting
dynamics encourage distraction (Barner 2011) and a wanderous attention, making it into a fertile
environment for an improvisational wandering practice. However, questioning the challenges
posed by the social dynamics makes me question if the research belongs exclusively to urban

76
walking. A further development of the practice might need to consider exploring wandering in a
variety of different environments.

10.5 The drawings

During the final stage of the project I intuitively felt the need to physically respond to the drawings
and asked if they might also be seen as graphic scores and maps. This led to some side explorations
of reading a drawing as a map for the walk and as a graphic score to respond with movement and
to record sounds. I acknowledged that this could be a potential next step of the practice but at this
stage it remained a branching off the main practice, as the focus of the project at this stage was to
clarify the wandering experience as a walking and walking-drawing practice in its own right, rather
than a process for further material to be developed.

10.6 Liminality
The research exists in liminality, crossing different spheres of interests and concerns. It bridges
walking into the sphere of dance improvisation and drawing into the sphere of walking, formulating
and comparing theories of experiential perspectives of space that relate to a more geographical
sphere of enquiry, whilst also questioning its relationship with other urban walking practices. I have
questioned if the research sits closer to other urban walking practices than dance improvisational
ones. I acknowledged that this question might suggest locating and fixating the practice and
categorising it by its site-specificity rather than considering the researchers background and field of
enquiry. Since the practice without the site cannot exist and the research is grounded in the
dynamic relationship between the body and the environment, it was relevant to contextualise it
amongst other urban practices. Conversely, these questions suggest further reflection on how I
site the research amongst my own wider artistic practice, rather than amongst other practices. Is
the research a specific improvisational practice in its own right, or a practice that can be used as a
research methodology to further propel creative processes? Is it both? I conceive the walking
practice as coexisting and feeding into my improvisational and wider artistic practice. Perhaps at
this stage the practice remains as my own personal layering of embodied knowledge into a open-
ended underscore that explores my relational being in the world, noticing how the findings
reverberate both into my improvisational creative practice and my daily life.

77
Conclusions

How to conclude a wandering journey with no destination?
The findings and propositions are temporary ones that frame the practice at this moment in time. It
would be a paradox for this process-based, open-ended wandering practice to arrive at fixed
conclusions.

The research revealed how urban wandering can nurture a somatic and creative improvisational
practice. A practice that acknowledges a dialogue with the environment as being fundamental in
our state of permeability and responsiveness as we move with and through the world. Wandering
nurtures attentiveness to the perceptual processes involved in letting oneself being affected by the
environment. It entails allowing oneself to remain in a state of not knowing, permeability and
fluxuos change, as much as to perceive containment and specificity of framed experiences.
Permeability relies on an awareness of the movement of attention, which, if allowed to wander and
be in dialogue with ground orientation, can reveal itself as specific modes and dynamics.

Like a drawn trace, wandering invites a pre-reflective contact with the world that favours
abstraction. It welcomes, channels and scapes multiplicity into a path that is permeable, emergent
and has no destination, but is framed by the interplay of attentional dynamics and our orientation
with the ground.

We are always oriented in our sense of here. Wandering is contained in the extent of my here,
which is relational, always changing, but framed by my haptic coming into contact with the
multiplicity of the environment.

Allowing oneself to wander is to surrender to multiplicity, synchronicity and multi-directionality,
whilst allowing a flow of inner and outer attentional dynamics in dialogue with the ground
orientation to both guide and frame the unknown journey. In having no destination and
surrendering to both multiplicity and our here, our emergent journey scapes our experience of the
environment and ourself in it. It frames and channells that multiplicity into a permeable scaped
path. Wandering as pathscaping invites a dialogue between moving through different attentional
dynamics and moving through the environment in a process of welcoming multiplicity and finding
containment.

78
Bibliography

Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: The
University of Minnesota

Ashley T., Kenyon S. (2007). The Penine Way: The Legs That Make Us. United Kingdom: Brief
Magnetics.

Ashley, T. (2011). Moving with the Earth: Site Sensitive Dance in Transition, Unpublished Doctoral
Dissertation, Texas Womans University.

Baldwin, T. (ed.) (2004). Maurice Merleau-Ponty: Basic Writings. London: Routledge

Bannon, F. (2011). 'Articulations: Walking as daily dance practice', Choreographic Practices, 1, 1, pp.
97-109, International Bibliography of Theatre & Dance with Full Text, EBSCOhost, viewed 16 March
2014.

Barnes, D. (2011, March, 20). Distraction in the Experience of the City [web log post]
Retrieved from http://danielbarnes.wordpress.com/2011/03/20/distraction-in-the-experience-of-
the-city/#_ftnref6

Bernard, A. (2006). An Introduction to Ideokinesis.
Retrieved from: http://www.northatlanticbooks.com/pdf/155643569XE.pdf

Brown, J. (2006) The Pennine Way: the legs that make us [web log post]. Retrieved from:
http://joannamarybrown.wordpress.com/the-pennine-way-the-legs-that-make-us/

Buckwalter, M. (2011). Composing while Dancing: An Improvisers Companion. Wisconsin: The
University of Wisconsin Press.

Careri F. (2002). Walkscapes: walking as an aesthetic practice. Barcelona: Aleu SA.

Carruthers, B. (2003). Returning the Radiant Gaze: Art and Visual Embodiment in a World of
Subjects. Retrieved
from: http://www.academia.edu/233490/RETURNING_THE_RADIANT_GAZE_Visual_Art_and_Emb
odiment_in_a_World_of_Subjects

79

Casey E. S. (1993). Getting Back into Place. Toward a Renewed Understanding of the Place-World.
Indiana:Indiana University Press.

Coles, R., Millman, Z. (eds.) (2013) Landscape, Well-Being and Environment. Oxon: Routledge.

Cooper Albright, A., Gere, D. (2003). Taken By Surprise: A Dance Improvisation Reader.
Middletown: Weselyan University Press.

Coverley M. (2006). Psychogeography. Harpenden, Herts: Pocket Essential.

Crawford, J.L. (2013, June). Different Species of Space. Charlotte Spencer Projects [web blog post]
Retrieved from: http://charlottespencerprojects.org/blog/

Cull, L. (2011) Attention-training: Immanence and ontological participation in Kaprow, Deleuze &
Bergson. Retrieved from:
http://epubs.surrey.ac.uk/745974/1/Cull%202011%20Attention%20training%20ontological%20part
icipation_CULL_final-draft.pdf

Darby, K. (2013). Framing the Drift and Drifting the Frame: Walking with Wrights & Sites. New
Theatre Quarterly journal. Vol. 29#1. February, pp 48 - 60

De Certeau, M. (1984). The Practice of Everyday Life. Berkeley and Los Angeles:
University of California Press.

Debord G. (1958). Theorie de la derive in Internationale Situationniste #2. Retrieved from:
http://library.nothingness.org/articles/all/en/display/314

Forti, S. (2005) The Movement of Attention. An interview with Daniel Lepkoff. Retrieved from:
http://www.daniellepkoff.com/Writings/Daniel%20Simone%20Interview.php

Frank, K. (2006). Articulated Perception, Articulated Structure: Building the Sense of Other in the
Context of Structural Integration, IASI Yearbook, pp. 61-67.

Frank, K. (2007). Posture & Perception in the Context of the Tonic Function Model of Structural
Integration: an Introduction, IASI Yearbook, pp. 27-35.

80
Frank, K. (2011). Rolf Movement Faculty Perspectives: Orientation and Empathic Resonance
Considered as Psychobiological Elements in Structural Integration, Structural Integration Journal,
June 2011, pp. 2-5.

Fulton, H. (2002) Walking Journey. London: Tate Publishing.

Fulton, H. (2012) Walking in Relation to Everything. Manchester: Cornerhouse Publications

Gallagher, S. (2014). Ambiguity in the sense of agency. In Press. Retrieved from:
https://www.academia.edu/2827005/Ambiguity_in_the_sense_of_agency

Grasse, V. (2013). Investigative Practice Journal. Retrieved from:
http://investigativepracticejournal.weebly.com/index.html

Gibson, J. J. (1978) The Ecological Approach to Visual Perception of pictures Leonardo, Vol. 11, pp.
227-235. Pergamon Press Ltd. Printed in Great Britain. http://thehangedman.com/teaching-
files/ccc/gibson.pdf

Gibson, J.J. (1979). The Ecological Approach to Visual Perception. Boston, MA: Houghton Mifflin

Grisewood, J. (2010) Marking Time: Investigating drawing as a performative process for recording
temporal presence and recalling memory through the line, the fold, and repetition (Doctoral
dissertation). Retrieved from: http://ualresearchonline.arts.ac.uk/6509/1/Grisewood.pdf

Grisewood, J. (2012) Line Between: Becoming Drawing. Retrieved from:
http://www.janegrisewood.com/Images/JGrisewood%20DrawingOut%202012.pdf

Grzyb, J., del Pobil, A. P., Smith, L. B. (2012) How Walking Influences the Development of Absolute
Distance Perception.
Retrieved from: http://www3.uji.es/~grzyb/downloads/sab2012a.pdf

81

Harmon, K. (2004). You Are Here: Personal Geographies and Other Maps of the Imagination. New
York: Princeton Architectural Press.

Hay, D. (2010). No time to fly: a solo dance score written by Deborah Hay. Retrieved from:
http://www.deborahhay.com/DHDC%20Website%20Pdf/NTTF%20booklet.pdf

Hodge S., Persighetti S., Smith P., Turner C., Weaver T. (2003) An Exeter Mis-Guide. Wrights and
Sites Publication.

Hodge S., Persighetti S., Smith P., Turner C. (2005) A Manifesto for a New Walking Culture: 'dealing
with the city'. Retrieved from: Walks 21 website:
http://www.walk21.com/conferences/conference_papers_detail.asp?Paper=169&Conference=Zuri
ch

Hodge S., Persighetti S., Smith P., Turner C., Weaver T. (2006) A Mis-Guide to Anywhere. Wrights
and Sites

Hunter, V. (2009). Experiencing space: the implications for site-specific dance performance. In
Butterworth, Jo & Wildschut, Liesbeth (eds.) Contemporary Choreography: a Critical Reader (pp.
399-416). London: Routledge.

Ingold, T. (2000). The perception of the environment: Essays in livelihood, dwelling and skill. London:
Routledge.

Ingold ,T. (2007). Lines: A brief history. New York: Routledge

Ingold, T., Vergunst, J.L. (eds.) (2008) Ways of Walking: Ethnography and Practice on Foot.
Derbyshire: Ashgate

Ingold, T. (2011). Being Alive, London: Routledge,

Iversen M. (ed.) (2010). Chance (Documents of Contemporary Art). London/Cambridge MA:

Whitechapel/MIT Press


Kaprow, A. (2003). Essays on the blurring of art and life. London: University of California Press

82
Kaushik, R. (2013). Art, Language and Figure in Merleau-Ponty: Excursions in Hyper-Dialectic.
London: Bloomsbury

Kenyon. S., Callaghan. N. (2013) step by step: small sequences for the city [Cards]
Retrieved from: www.neilandsimone.co.uk/stepbystep.html

Klee, P. (1925). Pedagogical Sketchbook. London: Faber and Faber Ltd.

Klee, P. (1961). Paul Klee: the thinking eye. London: Lund Humphries.

Kramer, P. (2012) Bodies, Rivers, Rocks and Trees: Meeting agentic materiality in contemporary
outdoor dance practices, Performance Research: A Journal of the Performing Arts vol. 17(4), pp.83-
91

Lawson, B. (2001) The Language of Space, Oxford: Architectural Press.

Lefebvre, H. (1991) The Production of Space, trans. D. Nicholson-Smith, Oxford: Blackwell.

Lynch, K. (1960). The Image of the City. Cambridge, MA: The MIT Press

Massey D. (2005). For Space. London: Sage Publications.

McHose, C. (2006) Interview with Hubert Godard. Contact Quarterly dance journal vol. 31(2),
summer/fall 2006

Midgelon, V., L. (2007). Traces: Improvisation in a Box. Derbyshire: Artfully Bound

Nelson, L. (2003). Before Your Eyes, Seeds of a Dance Practice, Contact Quarterly dance journal
vol. 29 (1), winter/spring 2004

Newham, A. (2009). The Pedestrian. Unpublished Dissertation, The University of North Carolina at
Greensboro. Retreived from:http://libres.uncg.edu/ir/uncg/listing.aspx?id=1903

No, A. (2004). Action in Perception. Massachusetts: The MIT Press.

No, A. (2012). Varieties of presence. London: Harvard University Press.

83
Newton, A. (2003) Gracovetsky on Walking, Structural Integration, February, pp. 4-8.

Oliveros, P. (2005). Deep listening: A composers sound practice. Lincoln, NE: iUniverse, Inc.

ORegan J. K., Myin. E., No, A. (2004). Towards an Analytical Phenomonology: The Concept of
Bodiliness and Grabbiness . Theory and Decision Library A: Rational choice in Practical
Philosophy and Philosophy of Science. Journal. Volume 38, 2004, pp 103-114

ORourke, K. (2013). Walking and Mapping: Artists as cartographers. Cambridge, MA:
Massachusetts Institute of Technology

Owens, B. (2008). Walking Awareness Through Movement
Retrieved from: http://consciousmovements.com/walking-awareness/

Pallasmaa, J. (1996). The Eyes Of The Skin: Architecture and the Senses. Chichester: John Wiley and
Sons Ltd.

Parry, J. D. (eds.) (2011). Art and Phenomenology. Oxon: Routledge.

Paxton, S. (2008). Material for the Spine [DVD]

Pease A, Charnley J.,Colton S. (2012) Using grounded theory to suggest types of framing
information for Computational Creativity. Osnabrk, Germany: Publications of the Institute of
Cognitive Science

Perec G. (2008) Species of Spaces and Other Pieces. London: Penguin Classics

Ponty M.M. (1962). Phenomenology of Perception. London: Routledge

Plotegher, P., Zechner, M., Hansen, B.R. (2013). nanopolitics handbook. Retrieved from:
http://catahistorias.files.wordpress.com/2013/07/nanopoliticsfinal_lq.pdf

Read. A, (2000). Architecturally Speaking. Practices of Art Architecture and the Everyday. London:
Routledge

Robinson, A. (2014). Line Drawing: A Guide for Art Students.
Retrieved from: http://www.studentartguide.com/articles/line-drawings

84

Roses-Thema, C. (2014, January, 27). The Somatic Open: 365 Walks [web log post]. Retrieved from:
http://cynthiarosesthema.wordpress.com

Roy, C. (2012). On Being Lost. (Unpublished masters thesis). Laban, London,
England.

Seamon, D. (1979). A Geography of the Lifeworld. London: Croom Helm

Seamon, D. (2010) Merleau-Ponty, Perception, and Environmental Embodiment: Implications for
Architectural and Environmental Studies. Retrieved from:
http://transitionconsciousness.files.wordpress.com/2012/10/seamon_merleau-
ponty_carnal_echoes_chapter_9_9_10.pdf

Simonsen, K. (2005). Bodies, Sensations, Space and Time: The Contribution of Henri Lefebvre.
Geografiska Annaler: Series B, Human Geography, Volume 87, Number 1, April 2005 , pp. 1-14(14)

Smith, P. (2010). Mythogeography. Devon: Triarchy Press

Smith, P. (2014). On Walking. Devon: Triarchy Press

Solnit, R. (2006). A field guide to getting lost. Edinburgh: Canongate Books.

Solnit, R. (2002). Wanderlust: A History of walking. London: Verso.

Spragge, F. (2014). Walking Drawings. Retrieved from:
http://www.fosterspragge.com/walking-drawings.html

Sterne, J. (2012). The Soundscape. Sound Studies Reader. Oxton: Routledge

Stewart, R. (2003) (Re)inventing Artists Research: Constructing living form of theory. University of
Southern Queensland. Retrieved from: http://www.textjournal.com.au/oct03/stewart.htm

The Walking Institute. Walking And. http://deveron-arts.com/the-walking-institute/walking-and/

Tuan, Y-F. (1977). Space and Place: the Perspective of Experience.
Minneapolis: University of Minnesota Press.

85

Vogl, J. R. (2007). Walk this Way: The Urban Interventions of Francis Alys and Diane Borsat.
Retrieved from: https://curve.carleton.ca/theses/30024

Vecera, S. P. (2000). Toward a Biased Competition Account of Object-Based Segregation and
Attention. Retrieved from:
http://aegean.psychology.uiowa.edu/Faculty/Vecera/lab/papers/biased_comp.pdf

Shaun P. Vecera, S. P., Rizzo, M. (2003). Spatial attention: normal processes and their breakdown.
Retrieved from:
http://aegean.psychology.uiowa.edu/Faculty/Vecera/lab/papers/vecera%26rizzo_neuroclinics.pdf

Walking Artists Network (2007) www.walkingartistsnetwork.org

Whitehead, S. (2006). Walks To Illuminate. Retrieved from:
http://www.untitledstates.net/walkstoilluminate/simon.htm

Wilson, K. (July 2007). Does attention exist? A phenomenological investigation of the nature of
attention and its role in human perceptual awareness. British Journal of Undergraduate
Philosophy, 2 (2).

Wood D. (2010). Lynch Debord: About Two Psychogeographies1 Cartographica: The International
Journal for Geographic Information and Geovisualization 45: 3, 185-199, Retrieved from
http://utpjournals.metapress.com/content/v43uk53r000h1267/

86
Appendix 1
Research stages, sharings and collaborations

March Sept 2014
Stage 1 - Leeds March/April 2014 - wandering walks clarifying sub questions and main strands;
Stage 2 - Istanbul May 2014 - Specific attention study focusing on ground, visual and aural fields;
inviting participants; drawing whilst walking practice.
Stage 3 Leeds June/August/September 2014 walking and combining drawing whilst walking;
layering findings, clarifying and mapping the practice; review of the process and findings, selecting
a collection of scores and final writing process.

Sharing the practice
Throughout the second stage of the research, whilst clarifying the main strands of the research and
exploring specific scores, I invited different people to explore some of the scores for feedback and
further insights into the practice.

Silent group wandering













Copyright 2014

87
Earplugs walk

Copyright 2014

The sharings valuably questioned the practice and brought further insights about each score,
helping to discern and clarify that the strength of the research was in a solo practice

Collaborations

Throughout the research a collaborative dialogue with the practice was established with dance
artist Bettina Neuhaus and sound artist Phil Harding as a continuation of our on-going sharing of
each others practices. The dialogue, support and mentoring from Bettina was invaluable in
developing and elucidating the practice. Meeting with Phil through the different stages of the
practice valuably contributed to my explorations of aural listening and the sonic urban
environment.

88
Appendix 2
Attentional drawings

These are the initial drawing explorations that then led to the walking-drawing practice:

- Drawing with eyes closed following the movement of my inner and outer attention
- Drawing with eyes closed and then open. How does my attention move between sounds? What is
the quality of what I hear?
- Draw with eyes open visual and sound
- Visual, sonic and felt, inner and kinetic (my arm moving, the movement of my eyes, my contact
with the ground, my breath, my attention traveling through different pathways in the body)

Copyright 2014

89
Copyright 2014

90


Appendix 3
Snapshots walk

The snapshot walk is an adaptation of a score by Lisa Nelson, in which a partner guides you on a
walk and invites you to make snapshots with the eyes and capture a quick visual impression. It
invites an immersion in the interplay of the sensorial and kinetic experience whilst moving through
the environment.

The score emphasized the dialogue between seeing, hearing and ground, which are the lenses
through which I have focused my attentional and orientational study.

Having my eyes closed and being led by a partner allowed an immersion in the environment
removing some of the navigational coordinates I rely on, like my horizon and my constant making
sense of my surroundings by relying on recognising the sources of external stimuli and their
relationships. By having eyes closed and by making random snapshots their relationships are
altered. With my eyes closed I rely on ground being my main spatial reference from which I can
orient myself. Moreover, the uneven floor on the street in Istanbul encouraged a high level of
attentiveness in how I was meeting the ground. Removing the horizon reference and unexpected
stimuli arriving from multiple directions, invited an immersion into multiplicity and the unknown.

This score revealed a complex interplay between the visual and aural fields. The snapshot frames an
image, which juxtaposed with our continual aural experience, is experienced as out of context;
questioning a desire to make sense of our surroundings, bringing to attention how we constantly
relate to spatial stimuli to navigate and emphasizing a tension between fragmented and continuous
perceptual experience. I experienced the city as both a fragmented and fluid collage of experiences,
emphasizing a dialogue between fluxuous and framed experience.
My partner deciding when I make a visual snapshot allowed me to experiencing synchronicity
between visuals and sounds. This led me to explore my solo score of visuals and sounds triggering
one another, which gave insights into allowing synchronicity to arise whilst wandering.

91
The snapshot walk was one of the scores I shared with other people whilst researching in Istanbul.
Whilst I was more interested in the immersive sensorial experience of the receiver being guided
with eyes closed, the reflections from sharings the score seemed to emphasize the relationship
with the partner and also how by exploring the score we change the reality of the street, affecting
other people and attracting attention. This made me reflect further on the wider purpose of the
score in my research and that I was relating mostly to the findings that revealed insights into my
perceptual and navigational processes.


Snapshot walk

Copyright 2014

92
Appendix 4
Gaze above the horizon walk

.Walk maintaining the gaze above the horizon

Copyright 2014

Peripheral vision significantly affected the quality of my attention, my seeing, my moving and my
perception of here. I found myself walking ,expanding my peripheral field by maintaining the gaze
above the horizon.

Whilst this exploration still emphasizes the moving visual field it also highlights being enveloped in
the environment and noticing the extent of my here. It calls for a different engagement of the eyes
as they are not surfing along but are allowed to rest somewhere just above your comfortable
horizontal gaze level. As I walk, a normal horizontal gaze level allows me to see the shifting horizon
line as a vanishing distant point or a malleable contour of the land; even when I am surrounded by
buildings and in more enclosed spaces, my horizontal gaze gives me a sense of seeing beyond,
perceiving where the vanishing point might be. My horizon gives me a sense of unreachable
distance and makes walking into both a horizontal and vertical experience. As Roy says (2012, p.18)
As I walk, it is like trying to catch my shadow, I cannot reach my horizon. I cannot move beyond it,
the horizon is in constant shift and whilst it doesnt locate me [it] reminds me that I cannot be
located. The horizon is present in my horizontal visual field and, even thought it does not locate
me, in its manifesting itself as an unreachable horizontal distance it fills me with a sense of moving
towards and across. By moving the gaze above the horizon level, the horizon blurs and the
peripheral vision expands further, giving me a sense of moving without specific directionality, the
sense of towards and across are questioned and almost vanish, emphasizing the verticality of
walking rather than the horizontality. This translates into having a vast, and more three-
dimensiona,l sense of spatiality that surrounds me. Blurring my horizontal reference reinforces my
reference of ground, going back again towards my weight orientation. I rest and come toward
myself whilst also projecting myself into space. A staying whilst going and arriving in the wandering.

93