User:LEa/reader/walking&mapping - Revision history

LEa at 08:45, 5 February 2026

2026-02-05T08:45:37Z

← Older revision		Revision as of 10:45, 5 February 2026
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	=Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013)=		=Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013)=

			[[File:Walking&mapping.jpg\|thumb]]

	'''Read'''		'''Read'''
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	* '''Shaped''' walks: religious processions, pilgrimages, political demonstrations		* '''Shaped''' walks: religious processions, pilgrimages, political demonstrations

	~~[[File:Walking&mapping.jpg\|thumb]]~~

LEa at 08:44, 5 February 2026

2026-02-05T08:44:11Z

← Older revision		Revision as of 10:44, 5 February 2026
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	* '''Shaped''' walks: religious processions, pilgrimages, political demonstrations		* '''Shaped''' walks: religious processions, pilgrimages, political demonstrations

			[[File:Walking&mapping.jpg\|thumb]]

LEa: /* Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013) */

2026-02-05T07:43:23Z

Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013)

← Older revision		Revision as of 09:43, 5 February 2026
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	found in the XPUB library		found in the XPUB library

	===Chapter 1 — ''Psychogeography: the Politics of ~~Apllied~~ Pedestrianism''===		===Chapter 1 — ''Psychogeography: the Politics of Applied Pedestrianism''===

	'''Synopsis'''		'''Synopsis'''
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	The first chapter of ''Walking and Mapping''—namely: ''Psychogeography: the Politics of Apllied Pedestrianism''; an extract [https://thereader.mitpress.mit.edu/psychogeography-a-purposeful-drift-through-the-city/ can be read here]—presents the concept of psychogeography. The term was first used by members of [https://en.wikipedia.org/wiki/Letterist_International Letterist International] in the 1950s. It describes the exploration of cities and similar environments with a focus on personal connections to the encountered places and routes taken. This approach is very much based on play and the personal opinions of someone on their surroundings. In the book, Karen O’Rourke recounts an experience from October 2004, when she participated in a “psychogeographic walk”. Writer and squatter [https://cryptoforest.blogspot.com/ Wilfried Hou Je Bek] uses “walking algorithms” to drift through urban landscapes. On a note, he writes instructions for the participants such as “first right, first left, third right, repeat”, as well the request to note down anything striking.		The first chapter of ''Walking and Mapping''—namely: ''Psychogeography: the Politics of Apllied Pedestrianism''; an extract [https://thereader.mitpress.mit.edu/psychogeography-a-purposeful-drift-through-the-city/ can be read here]—presents the concept of psychogeography. The term was first used by members of [https://en.wikipedia.org/wiki/Letterist_International Letterist International] in the 1950s. It describes the exploration of cities and similar environments with a focus on personal connections to the encountered places and routes taken. This approach is very much based on play and the personal opinions of someone on their surroundings. In the book, Karen O’Rourke recounts an experience from October 2004, when she participated in a “psychogeographic walk”. Writer and squatter [https://cryptoforest.blogspot.com/ Wilfried Hou Je Bek] uses “walking algorithms” to drift through urban landscapes. On a note, he writes instructions for the participants such as “first right, first left, third right, repeat”, as well the request to note down anything striking.

	Just a few pages later, O’Rourke again quotes Wilfried Hou Je Bek, who describes psychographic writing as “the city-space cut-up.” ~~I’m now all ears (or eyes?)~~, as ''cut-up'' has been a recurring term in ~~our current~~ Special Issue. And sure enough, in the next sentence O’Rourke makes a connection to [[Writing Machines–Protocols–Feedback#Monday 6 October\|William Burroughs and Brion Gysin]]. Just as they rearrange newspaper texts and audio snippets to reveal possible underlying meanings, “so too psychogeographers decode urban space by moving through it in unexpected ways”.		Just a few pages later, O’Rourke again quotes Wilfried Hou Je Bek, who describes psychographic writing as “the city-space cut-up.” This is interesting, as ''cut-up'' has been a recurring term in Special Issue #28. And sure enough, in the next sentence O’Rourke makes a connection to [[Writing Machines–Protocols–Feedback#Monday 6 October\|William Burroughs and Brion Gysin]]. Just as they cur up and rearrange newspaper texts and audio snippets to reveal possible underlying meanings, “so too psychogeographers decode urban space by moving through it in unexpected ways”.

	'''Importance'''		'''Importance'''
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	Personally, the idea of walking as research appeals to me. I like exploring spaces on foot and have been doing so a lot since moving to Rotterdam. I want to talk to [[User:Daanprincen\|Daan]], who has explored walking as artistic practice in his Bachelor's thesis!		Personally, the idea of walking as research appeals to me. I like exploring spaces on foot and have been doing so a lot since moving to Rotterdam. I want to talk to [[User:Daanprincen\|Daan]], who has explored walking as artistic practice in his Bachelor's thesis!

	===Chapter 2 — ''~~Title~~''===		Reading this chapter inspired me to work on my project for the live event of Special Issue #28: The outer part of [[Projects_SI_28/The-Calm-Machine\|The Calm Machine]].

			===Chapter 2 — ''A Form of Perception or a Form of Art?''===

	'''Synopsis'''		'''Synopsis'''

	In this chapter, the performative and choreographic potential of walking is in focus.		In this chapter, the performative and choreographic potential of walking is in focus.
	Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! ~~"Repetition~~ can induce a hypnotic or ecstatic state of conciousness"		Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! “Repetition can induce a hypnotic or ecstatic state of conciousness.”

			'''Interesting mentions'''

	~~Interesting mentions:~~		* John Dewey: “the live being recurrently loses and reestablishes equilibrium with his surroundings” (??)
	* John Dewey: “the live being recurrently loses and reestablishes equilibrium with his surroundings”
	* John Cage: encouraged his speakers to use constraints or predefined rules to produce new choreographic sequences		* John Cage: encouraged his speakers to use constraints or predefined rules to produce new choreographic sequences
	* Judson Group: “dance of ordinary language”		* Judson Group: “dance of ordinary language”
	** Yvonne Rainer: body treated as an object		* Yvonne Rainer: body treated as an object; blurring distinctions between professional dancers and amateurs
	** blurring distinctions between professional dancers and amateurs
	* Asimina Chremos: When and at what point does “everyday life” segue into “art”?		* Asimina Chremos: When and at what point does “everyday life” segue into “art”?
	* repetitive walking		* repetitive walking
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	* Janet Cardiff audio guide: “Her Long Black Hair”		* Janet Cardiff audio guide: “Her Long Black Hair”

	'''~~Importance~~'''		Again—lots of names related to SI28 (such as John Cage).

			===Chapter 3 — ''A Map, No Directions''===

			'''Synopsis'''

			This chapter discusses walking protocols in depth, after they were already mentioned in ''Psychogeography: the Politics of Applied Pedestrianism''.

			* What is a protocol? — A rule, a guideline or document with specifications
			** In science: A protocol should include standards and be reproducible with the same results.
			** In art: A protocol is a statement of intention, defines methods and objectives, which makes it easier to collaborate and approach a work collectively. The protocol opens up the opportunity to share the artwork and invite others, the maker of the protocol does not necessarily need to be the only artist. In the arts, unlike in science a protocol can (should?) leave room for interpretation.
			** Synonyms: ''script'', ''scenario'', ''score''

			* Sol LeWitt: “When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a '''perfunctory''' affair. The idea becomes a machine that makes art.” (Note: Good summary of writing machines! Keep in mind when explaining SI28 to others.)

			* [Drawing a] '''line''' is related to time. How is walking related to time? A straight line is related to competitiveness (in sports), to races, and to Phileas Fogg in ''Around the World in 80 Days''.

			*Richard Long: walking fast or slow — Fast is energizing, slow in sensible.

	~~Again—lots of names related to SI28 (such as John Cage).~~		* '''Shaped''' walks: religious processions, pilgrimages, political demonstrations

LEa: /* Chapter 2 — Title */

2025-11-03T20:31:57Z

Chapter 2 — Title

← Older revision		Revision as of 22:31, 3 November 2025
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	'''Importance'''		'''Importance'''

	Again—lots of names related to SI28 (such as John Cage).		Again—lots of names related to SI28 (such as John Cage).

LEa: /* Chapter 2 — Title */

2025-11-03T20:31:46Z

Chapter 2 — Title

← Older revision		Revision as of 22:31, 3 November 2025
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	In this chapter, the performative and choreographic potential of walking is in focus.		In this chapter, the performative and choreographic potential of walking is in focus.
	Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition ~~>~~ can induce a hypnotic or ecstatic state of conciousness"		Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition can induce a hypnotic or ecstatic state of conciousness"

	Interesting mentions:		Interesting mentions:

LEa: /* Chapter 2 — Title */

2025-11-03T20:31:19Z

Chapter 2 — Title

← Older revision		Revision as of 22:31, 3 November 2025
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	'''Synopsis'''		'''Synopsis'''

			In this chapter, the performative and choreographic potential of walking is in focus.
	Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition > can induce a hypnotic or ecstatic state of conciousness"		Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition > can induce a hypnotic or ecstatic state of conciousness"

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	'''Importance'''		'''Importance'''
			Again—lots of names related to SI28 (such as John Cage).

LEa: /* Chapter 2 — Title */

2025-11-03T20:29:00Z

Chapter 2 — Title

← Older revision		Revision as of 22:29, 3 November 2025
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	'''Synopsis'''		'''Synopsis'''

	Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, ~~the~~ […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition > can induce a hypnotic or ecstatic state of conciousness"		Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, then […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition > can induce a hypnotic or ecstatic state of conciousness"

	Interesting mentions:		Interesting mentions:

LEa: /* Chapter 1 — Psychogeography: the Politics of Apllied Pedestrianism */

2025-11-03T20:28:35Z

Chapter 1 — Psychogeography: the Politics of Apllied Pedestrianism

← Older revision		Revision as of 22:28, 3 November 2025
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	Personally, the idea of walking as research appeals to me. I like exploring spaces on foot and have been doing so a lot since moving to Rotterdam. I want to talk to [[User:Daanprincen\|Daan]], who has explored walking as artistic practice in his Bachelor's thesis!		Personally, the idea of walking as research appeals to me. I like exploring spaces on foot and have been doing so a lot since moving to Rotterdam. I want to talk to [[User:Daanprincen\|Daan]], who has explored walking as artistic practice in his Bachelor's thesis!

	===Chapter 2 — ''Title''		===Chapter 2 — ''Title''===

	'''Synopsis'''		'''Synopsis'''

LEa: /* Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013) */

2025-11-03T20:28:24Z

Walking and Mapping: Artists as Cartographers (Karen O’Rourke, 2013)

← Older revision		Revision as of 22:28, 3 November 2025
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	'''Importance'''		'''Importance'''

	The idea of walking as research appeals to me. ~~Also~~, a ~~lot~~ of ~~artists~~ and ~~writers connected~~ to ~~the Special Issue #28 are mentioned~~ in the ~~book. After reading the first few pages~~, I ~~made~~ [~~[Writing Machine Directory#Psychogeographic Writing Machine\|this writing machine]~~].		O’Rourke quotes Wilfried Hou Je Bek, who describes psychographic writing as “the city-space cut-up.". then she makes a connection to [[Writing Machines–Protocols–Feedback#Monday 6 October\|William Burroughs and Brion Gysin]]. Just as they rearrange newspaper texts and audio snippets to reveal possible underlying meanings, “so too psychogeographers decode urban space by moving through it in unexpected ways”. The chapter mentions other artists and writers connected to SI28 as well!

			Personally, the idea of walking as research appeals to me. I like exploring spaces on foot and have been doing so a lot since moving to Rotterdam. I want to talk to [[User:Daanprincen\|Daan]], who has explored walking as artistic practice in his Bachelor's thesis!

			===Chapter 2 — ''Title''

			'''Synopsis'''

			Walking is a skill that has to be learned. After a while, it then becomes automatic. Still—“Every time we take a step we start to fall, the […] we regain our balance.” Repetitive walking is valuable to explore! "Repetition > can induce a hypnotic or ecstatic state of conciousness"

			Interesting mentions:
			* John Dewey: “the live being recurrently loses and reestablishes equilibrium with his surroundings”
			* John Cage: encouraged his speakers to use constraints or predefined rules to produce new choreographic sequences
			* Judson Group: “dance of ordinary language”
			** Yvonne Rainer: body treated as an object
			** blurring distinctions between professional dancers and amateurs
			* Asimina Chremos: When and at what point does “everyday life” segue into “art”?
			* repetitive walking
			* Bruce Naumann: […] if I was an artist an I was in the studio, then whatever I was doing […] must be art. Pacing around for example.”
			* TV ballet: Quad I + II (1982)
			* John Cage: live street sounds brought into the concert hall > 4’33’’ (1952)
			* Janet Cardiff audio guide: “Her Long Black Hair”

			'''Importance'''

LEa: /* Chapter 1 — Psychogeography: the Politics of Apllied Pedestrianism */

2025-10-30T21:06:40Z

Chapter 1 — Psychogeography: the Politics of Apllied Pedestrianism

← Older revision		Revision as of 23:06, 30 October 2025
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	'''Synopsis'''		'''Synopsis'''

	The first chapter of ''Walking and Mapping''—namely: ''Psychogeography: the Politics of Apllied Pedestrianism''; an extract [https://thereader.mitpress.mit.edu/psychogeography-a-purposeful-drift-through-the-city/ can be read here]—presents the concept of psychogeography. The term was first used by members of [https://en.wikipedia.org/wiki/Letterist_International Letterist International] in the 1950s. It describes the exploration of cities and similar environments with a focus on personal connections to the encountered places and routes taken. This approach is very much based on play and the personal opinions of someone on their surroundings. In the book, Karen O’Rourke recounts an experience from October 2004, when she participated in a “psychogeographic walk”. Writer and squatter [https://cryptoforest.blogspot.com/ Wilfried Hou Je ~~Berk~~] uses “walking algorithms” to drift through urban landscapes. On a note, he writes instructions for the participants such as “first right, first left, third right, repeat”, as well the request to note down anything striking.		The first chapter of ''Walking and Mapping''—namely: ''Psychogeography: the Politics of Apllied Pedestrianism''; an extract [https://thereader.mitpress.mit.edu/psychogeography-a-purposeful-drift-through-the-city/ can be read here]—presents the concept of psychogeography. The term was first used by members of [https://en.wikipedia.org/wiki/Letterist_International Letterist International] in the 1950s. It describes the exploration of cities and similar environments with a focus on personal connections to the encountered places and routes taken. This approach is very much based on play and the personal opinions of someone on their surroundings. In the book, Karen O’Rourke recounts an experience from October 2004, when she participated in a “psychogeographic walk”. Writer and squatter [https://cryptoforest.blogspot.com/ Wilfried Hou Je Bek] uses “walking algorithms” to drift through urban landscapes. On a note, he writes instructions for the participants such as “first right, first left, third right, repeat”, as well the request to note down anything striking.

	Just a few pages later, O’Rourke again quotes Wilfried Hou Je Bek, who describes psychographic writing as “the city-space cut-up.” I’m now all ears (or eyes?), as ''cut-up'' has been a recurring term in our current Special Issue. And sure enough, in the next sentence O’Rourke makes a connection to [[Writing Machines–Protocols–Feedback#Monday 6 October\|William Burroughs and Brion Gysin]]. Just as they rearrange newspaper texts and audio snippets to reveal possible underlying meanings, “so too psychogeographers decode urban space by moving through it in unexpected ways”.		Just a few pages later, O’Rourke again quotes Wilfried Hou Je Bek, who describes psychographic writing as “the city-space cut-up.” I’m now all ears (or eyes?), as ''cut-up'' has been a recurring term in our current Special Issue. And sure enough, in the next sentence O’Rourke makes a connection to [[Writing Machines–Protocols–Feedback#Monday 6 October\|William Burroughs and Brion Gysin]]. Just as they rearrange newspaper texts and audio snippets to reveal possible underlying meanings, “so too psychogeographers decode urban space by moving through it in unexpected ways”.