tag:blogger.com,1999:blog-63739415529634274642024-03-13T08:00:35.067-07:00Foot Notes on Walking by David MacauleyThis is a blog on human ambulation—that is, walking. I explore this most ordinary but extremely revealing activity in relation to the physical landscape, aesthetics and art, politics, pedestrian practices, the wilderness, urban design, the body, environmental issues, and philosophical thought. I've published a few articles on the subject, and I'm currently writing a book on walking, so it seemed like a natural progression to blog about it as well.David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.comBlogger21125tag:blogger.com,1999:blog-6373941552963427464.post-54904352663385124792021-11-29T16:38:00.002-08:002021-11-29T16:38:38.884-08:00Selected Publications on Walking - David Macauley<p> </p>
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<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Walking: Philosophical and Environmental Foot Notes</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> (Indiana Univ. Press, forthcoming)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Home on the Road: Pilgrimage, Place, and
Peripatetics” in</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> J.</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Murungi</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> & L. </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Ardito</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, eds., </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Home: Lived Experiences</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> (Springer Publications)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Elemental Beauty: Walking the Sensuous Surface of the
Earth,” in </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">The Elemental
Sensuous: Phenomenology and Aesthetics</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, Eds., J. </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Murungi</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> and L. </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Ardito</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, (Cambridge)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Walking the City,” in </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">The Aesthetics of Human Environments</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, Eds., A. </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Berleant</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> & A. Carlson<span style="mso-spacerun: yes;">
</span>(Broadview)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Walking the Urban Environment” in Gary Backhaus and
John </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Murungi</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, Eds., </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Transformations of Urban and Suburban Landscapes</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> (Rowman and Littlefield Press)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Walking the Elemental Earth: Phenomenological and
Literary Foot Notes,” </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Annalecta</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Husserliana</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">, Vol. 71</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“Walking the City: Peripatetic Practices and Politics”
</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Capitalism, Nature, Socialism, </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Vol. 11, No. 4</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">“A Few Foot Notes on Walking,” </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">The Trumpeter: Journal of </span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; font-style: italic; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;">Ecosophy</span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> (Vol. 10:1)</span></div>
<div style="direction: ltr; language: en-US; line-height: normal; margin-bottom: 6.0pt; margin-left: .33in; margin-top: 4.8pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; text-indent: -.33in; unicode-bidi: embed; word-break: normal;"><span style="font-size: 20.0pt;"><span style="color: #ec8a59; font-family: "Wingdings 2"; font-size: 92%; mso-color-index: 4; mso-special-format: bullet;">¡</span></span><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"> Foot Notes on Walking (blog): </span><u style="text-underline: single;"><span style="color: #404040; font-family: "Times New Roman"; font-size: 20.0pt; language: en-US; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-color-index: 1; mso-fareast-font-family: +mn-ea; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 12.0pt; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #404040; mso-style-textfill-fill-colortransforms: "lumm=75000 lumo=25000"; mso-style-textfill-fill-themecolor: text1; mso-style-textfill-type: solid;"><a href="http://footnotesonwalking.blogspot.com/">http://footnotesonwalking.blogspot.com/</a></span></u></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-80115555270672141892017-02-08T22:01:00.001-08:002017-02-08T22:01:47.039-08:00<h1 style="background-color: white; border-bottom-color: rgb(0, 0, 0); border-bottom-style: double; border-bottom-width: 4px; font-family: 'Book Antiqua', Georgia, Times, serif; font-size: 26px; font-variant-caps: small-caps; margin: 0px 40px 10px; padding-bottom: 15px; padding-top: 15px;">
The Sudden Walk </h1>
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<span class="cap" style="color: #cc0000; float: left; font-size: 60px; line-height: 50px; margin: 0em 0.25em 0em 0em; width: 30px;">W</span>hen it looks as if you had made up your mind finally to stay at home for the evening, when you have put on your house jacket and sat down after supper with a light on the table to the piece of work or the game that usually precedes your going to bed, when the weather outside is unpleasant so that staying indoors seems natural, and when you have already been sitting quietly at the table for so long that your departure must occasion surprise to everyone, when, besides, the stairs are in darkness and the front door locked, and in spite of all that you have started up in a sudden fit of restlessness, changed your jacket, abruptly dressed yourself for the street, explained that you must go out and with a few curt words of leave-taking actually gone out, banging the flat door more or less hastily according to the degree of displeasure you think you have left behind you, and when you find yourself once more in the street with limbs swinging extra freely in answer to the unexpected liberty you have procured for them, when as a result of this decisive action you feel concentrated within yourself all the potentialities of decisive action, when you recognize with more than usual significance that your strength is greater than your need to accomplish effortlessly the swiftest of changes and to cope with it, when in this frame of mind you go striding down the long streets--then for that evening you have completely got away from your family, which fades into insubstantiality, while you yourself, a firm, boldly drawn black figure, slapping yourself on the thigh, grow to your true stature.</div>
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All this is still heightened if at such a late hour in the evening you look up a friend to see how he is getting on. </div>
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-- Franz Kafka</div>
David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-9020231337099515412016-07-30T14:44:00.000-07:002016-07-30T14:48:24.224-07:00"Walking Instructions" by Luke Fischer<div class="Default" style="margin-bottom: 4.0pt;">
I'm pleased to share here a poem about walking written by my friend, Luke Fischer, who is a philosopher and poet living in Sydney, Australia. I encourage you to check out Luke's books of poetry, philosophy, and stories for children:</div>
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<a href="http://blackpepperpublishing.com/fischerpof.html">http://blackpepperpublishing.com/fischerpof.html</a></div>
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<a href="http://www.lukefischerauthor.com/">http://www.lukefischerauthor.com</a></div>
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<br /></div>
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<b>Walking Instructions </b></div>
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<br /></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 11.5pt;">Samothraki, Greece</span></div>
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<i><span style="font-size: 11.0pt; mso-bidi-font-size: 11.5pt;">for David Macauley <o:p></o:p></span></i></div>
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<br /></div>
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<span style="mso-bidi-font-size: 11.5pt;">Break these instructions or read them then toss them <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">in the fire Don’t worry about arriving where
you’ve <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">planned or better set off without a destination Let a pair <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">of birds braiding air over the stream show
you the way <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">if you can follow them Let yourself get side-tracked Observe <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">that a sheep’s tail is almost as long as a
Labrador’s and <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">admire the Greeks for letting nature be Stop to ask <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">a nameless tree how it feels about the place
A stream <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">well-observed can exceed the promised bounty of the <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">waterfall Notice how it shoulders between
rocks like muscle <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">tissue in the making Sit down close your eyes and attend to <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">the timpani of water on stone and water on
water Wonder <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">about the rain-like doodles on an unflowing surface beside <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">a shoal Go nearer to see the mass gathering
of water striders <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">like tractors on delicate aquatic legs revving forward <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">then drifting back obliviously constructing a
fluent geometry <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">of concentric circles Yes you wish you knew more <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">geology could make distinctions beyond
granite and <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">porphyry but you don’t so look and speculate a little <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">work with what you don’t know if it helps
convert to Zen or <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">imagine how Orpheus perceived this waterscape Perhaps <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">in his youth the stream cooled his desire
like the tranquil <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">presence of Eurydice and the white stones appeared <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">as her congealed tears To me they suggest
marbles left <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">by the gods after they’d finished playing or a kind of divine <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">confetti though I can’t explain why Have you
ever looked <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">closely at a single ant? its abdomen an obsidian arrow-point <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">its dark-amber thorax and pin head the way it
uses its <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">antennae to navigate a bark terrain like a blind man <o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">with two canes or how does your ant look and
what is it<o:p></o:p></span></div>
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<span style="mso-bidi-font-size: 11.5pt;">doing</span><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">?
I always conceived lizards as stony sun-worshippers <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">but this one matches the
fallen sycamore leaves and is <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">strikingly streamlined and quick When seeking a hiding
place <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">to pee sense the atmosphere
as you pass through a grove <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">stones that seem more perfectly arranged than a
Japanese <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">garden and the watery
quality of the slim trunks and <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">branches You can almost make out the harmonics <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">of a lyre or the grace in a
statue of Artemis That night <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">marvel at how you stumble across this pertinent
passage <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">from Seneca quoted in a book
on the elements <i>If ever </i><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">you have come upon a grove that is full of ancient
trees which have grown </span></i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">to an unusual height,
shutting out a view of the sky by a veil </span></i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">of bleached and intertwining branches, then the
loftiness of the forest, </span></i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">the seclusion of the spot,
and your marvel at the thick unbroken shade </span></i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;">in the midst of the open spaces, will prove to you the
presence of deity. </span></i><span style="color: windowtext; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">Return the next day to the
same spot the ‘new’ is not <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">always the better Feel the soft carpet of tufts and
trilobed <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">leaves in the grove see how
the lichen-covered <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">stones and bark complement one another and inquire <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">further into the watery
quality you sensed Notice the ripples <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">in the grey bark and the way each tree seems to follow
the <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">will of the river Each a
stream of wood co-shaping <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">an airscape From its source in the roots the slender
trunk <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">meanders upwards and unwinds
in tributary-branches <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">Sit for a while without looking and shiver as a black
snake <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">slithers into a crevice As
the sun hides behind Mount <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">Fengari arrive at the Foniás waterfall strip off all
your <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">clothes and dive into the
liquid cool No Actaeon will <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">appear now and spy on you and even if he does who
cares <o:p></o:p></span></div>
<div class="Default" style="margin-bottom: 4.0pt; text-indent: 7.1pt;">
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">Drink as you swim rehydrate
but sip rather than gulp </span><br />
<span style="color: windowtext; mso-bidi-font-size: 11.5pt;">so as to avoid ingesting insects</span></div>
<div class="MsoNormal" style="margin-bottom: 4.0pt;">
<b><span style="font-family: "garamond"; mso-bidi-font-size: 11.5pt;"><br /></span>
<span style="font-family: "garamond"; mso-bidi-font-size: 11.5pt;"><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small;">© Luke Fischer</span></span></b></div>
David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-29472994530808715442016-07-28T00:35:00.000-07:002016-07-28T00:35:04.169-07:00Walking, the Human Senses, and the Sensuous Surface<br />
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Times, Times New Roman, serif;">In my room, the world is beyond my understanding;
/ But when I walk I see that it consists of three or four hills and a cloud. </span></i></div>
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<span style="font-family: Times, Times New Roman, serif;"><i> </i>—Wallace Stevens, “Of the Surface of Things”<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Historically, philosophers
have been skeptical, even suspicious, of the surface, a plane of the visible
and the apparent that suggests shallowness, superficiality, illusion, and a
lack of <i style="mso-bidi-font-style: normal;">gravitas</i>. In German, for
example, the realm of aesthetics typically belongs to the arena of “Schein”
(appearance) as opposed to that of “Sein” (Being). And yet, beauty—and with it
aesthetic enjoyment—is entangled intimately with this sphere of the epidermal.
From the roiling white caps of ocean waves to the flickering sheen of silver
coins loitering in the bottom of a fountain, we are drawn deeply to and through
the patina and palpation<b style="mso-bidi-font-weight: normal;"> </b>of the
shimmering “skin” of things. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">It is valuable to reflect upon our encounters with
the sensuous surface of the earth in the everyday enterprise of human
motility and ambulation—that is, walking. How and why are we drawn along on
foot and seduced by the charms of the tellurian domain? Are there sensuous
imperatives that hold, command, or channel our unfolding actions and
attractions as we walk? Might a sense of style or even an aesthetic sensibility
emerge through regular and reflective walking practices that could inform
practical work in urban design, ecological theory, or the politics of the
pedestrian world? <span style="text-indent: 0.5in;">Through the medium of our
bodily senses and a vocabulary cobbled together from experiences of physical
texture and tactility, furtive glancing and more protracted beholding, temporal
rhythms and emergent patterns of repetition, or simply attention to the earth’s
lines, colors, fissures, shapes, and curves, we might learn a great deal about
our surroundings.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Walking, in short,
encourages a fundamental, if overlooked, form of sensuous engagement with the
biological and built worlds in ways that other forms of bodily posture and
comportment do not. In relying largely on horizontal movement across surfaces,
it stimulates the corporeal senses—via a kind of actual and imaginative
“friction”—and offers, in turn, a needed counterpoise to both the physical
tendency to “look down” upon the subtending earth and the metaphysical penchant
to “fall up” towards the universal, the transcendental, and disembodied
abstractions. In so doing, it can help to provide a viable everyday
environmental aesthetic—one whereby we literally and figuratively move from
sensation (sense perception) to the sensuous and eventually to a more robust
ecological or communitarian sensibility. In addition to wilderness walkers, the
urban “stalker,” <i style="mso-bidi-font-style: normal;">flaneur</i>, and
aesthete might develop and, in turn, come to rely upon such a “sensibility”
(understood as a flexible aesthetic temperament or <i style="mso-bidi-font-style: normal;">disposition</i> rather than a ideologically rigid <i style="mso-bidi-font-style: normal;">position</i>) as he or she becomes a cultivated appreciator, artist or
“voluptuary” of beautiful and sensuous surfaces.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">How might we come to understand
sensuous surfaces?<span style="mso-spacerun: yes;"> </span>Very briefly, the <i style="mso-bidi-font-style: normal;">sensuous</i> involves engagement with,
arousal of, or gratification in one or more of the human senses. It frequently
carries further into the anticipation or experience of physical pleasure itself
and even carnal arousal or erotic expression. Mikel Dufrenne draws a helpful distinction between the “brute sensuous” and the “aesthetic sensuous,” where the former is encountered in ordinary perception and the latter resides solely in aesthetic objects. And Alphonso Lingis rightly locates a further link between the sphere of the sensual and the realm of the elemental, observing: “Sensuality is a movement of involution in a medium. One finds the light by immersion, one is in atmosphere, in sonority, in redolence or in stench, in warmth or in cold. One feels the supporting element of the ground rising up within one’s posture.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="text-indent: 0.5in;">In the simplest sense, a </span><i style="text-indent: 0.5in;">surface</i><span style="text-indent: 0.5in;"> is the outermost boundary of an
object. </span><span style="text-indent: 0.5in;">“Sur” means ‘above’ or ‘over’ while “face,” suggests the ‘look’,
‘appearance’ or ‘countenance’ of entity. </span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">When surfaces are sensuous, they attract or
delight us at a peculiarly visceral and imaginative level.</span><b style="text-indent: 0.5in;"> </b><span style="text-indent: 0.5in;">A sensuous surface also suggests more than what initially meets
the sensing ear, hands, feet or eyes since it can withhold from fully exposing
or expressing itself.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">On first blush, we
are not necessarily privy in a conscious way to the unseen insides, the unfelt undersides,
or the undetected infrastructure that gives a surface its aesthetic qualities
or properties such as shape, illumination, slope, color or texture. There is
routinely, however, a glint, trace or residue of greater dimensionality, of
something more to come or be brought forth. </span><b style="text-indent: 0.5in;"> </b><span style="text-indent: 0.5in;">In other words, surfaces do
not preclude the intimation of intensity or the possibility of profundity, a
point Wittgenstein gestures toward in his remark, “the depths are on the
surface.”</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">We might reasonably
consider sumptuous walking surfaces as being like layered fabrics or lush woven
carpets.<span style="mso-spacerun: yes;"> </span>There exists granularity and
volume to them. We sense slight thermal changes, pressure differences, and
vibrations and adjust our actions or reactions accordingly in response.<span style="mso-spacerun: yes;"> </span>Just as clothing becomes a kind of “second
skin,” a sensual extension of the body, worldly surfaces might be understood as
akin to an encapsulating “third skin,” outer membrane or tenuous shell of a
sort.<span style="mso-spacerun: yes;"> </span>Indeed, walking surfaces can
become beautiful or intriguing when they are adorned or illuminated with artful
graffiti, chalk drawings, colorful lights, and poetic words.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>Or
they can become annoying, harrowing or even dangerous when they are populated
with advertisements, holes or pollutants that undermine either their
functionality or charm.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Walking
possesses the ability to animate our senses in ways in which sitting, standing,
and lying—the three other major bodily postures and physical modes of being in
the world—do not. More specifically, mindful walking triggers both our “distal”
senses (sight and hearing)—which pick up information at a distance—and our
“proximate” senses (smell, touch and taste)—which are tethered more closely to
the visceral body—as well as our “auto-centric” faculties (self-centered and
subjective) and “allocentric” (other-centered and more objective)
capacities. By attending actively to the
full human sensorium when we perambulate, we might thereby nurture a form of
“peripheral vision” (hearing, touching, feeling)—a sensual awareness of what
lies near or lingers upon the edges, limits, perimeters, and margins of our
perceptual fields. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">As
we journey through the world on foot, we are moved not only by cognitive
intentions and conscious interior directives, drives, or choices through we
which exercise an actual or imagined control, but we are lured along externally
by sensuous phenomena and affects that emerge independently and unexpectedly:
unusual textures, interesting patterns, erotic shapes, atmospheric moods of the
weather, color tones, distinct smells, shape-shifting shadows, and the
like. We are also both led and limited
by physical affordances: possibilities for action in an environment that
presented by objects. These range from
thresholds and steps to rocks and posts that are supported by, co-extensive
with, or expressive of the underlying earth.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">More specifically, the materiality and horizontality
of the ground—the substrate of brick, sand, stone, soil or concrete beneath and
before us—serves to guide and govern our habitual but often unconscious
corporeal movements and to orient our upright and vertical bodies. As we
traverse the ever-changing and undulating ground in front of us, walking<b> </b>stimulates our multiple senses<b> </b>through<b> </b>a form of productive “friction” with generative and affective
feedback loops to the other parts of our body.
We find ourselves enticed by the membrane or seemingly palpitating
“skin” of the earth. We are distracted or seduced by the charms and challenges
of surfaces—layers of wet leaves, fresh tracks in the snow, or chalk marks left
for a child’s game of hopscotch—which can offer sensuous imperatives that lure,
channel, and even command our evolving interests and actions. From such
encounters, a somatic style or an aesthetic and ecological sensibility<b> </b>can, in fact, potentially arise with
practical implications for<b> </b>work
related to environmental planning and ecological design.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Sense-centered and hence
sensuously aware walking involves an attention to the nuance of color, shape,
curves, lines, patterns, and other forms of repetition. Sidewalk cracks, for
example, reveal character in a place and serve as registers of time in a
surface, just as wrinkles or scars do in an aging human face. Lines offer us
grooves to visually anchor motion, provide channels for forward flight, or
outline avenues of escape. Curves are alluring and enticing; they suggest the
unknown or hint at concealed realms, counteracting the rule of straight lines,
grids, and utilitarian structures. Sidewalks that are sensually engaging—that
visually weave and wend, or offer attractive and varied textures that call
forth touch, or provide pleasing rhythms and acoustics—embody and bequeath us a
kind of “beautility,” (being at once both beautiful and useful) to the urban
floor and pedestrian experience.<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><i><span style="line-height: 200%;">Sight. </span></i><span style="line-height: 200%;">Given its ties to peripheral spaces and
places, walking might help to facilitate and legitimate a model of sensual
perception that represents an alternative to the relative hegemony of the
visual <i>gaze,</i> which is a more
objectifying and invasive form of looking.</span><span style="line-height: 200%;"> Walking is especially suited to the shorter
span of the <i>glance</i>. The glance
alights on surfaces; it careens and reverberates them. Unlike its counterpart,
it is nimble, pointillistic, and given or geared to particularity. Whereas the
gaze tends to be sober and serious, the glance is potentially playful,
irreverent or subversive. It is tuned for surprise, delight, and even
enchantment because the </span>snare</span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">s for our visual attention are constantly changing
in a walk.</span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;"> </span></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif;">Below is a very
rough contrast of some of the hallmark features that characterize these two
different ocular frameworks, distinctions that summarize briefly and build upon points
made in a more fully developed form by the philosopher, Edward Casey. By comparing the columns, we can see
important dissimilarities in terms of the passage of time, the degree of focus,
the kind of attention, and the quality of appreciation offered respectively by
visual gazing and glancing. <b><o:p></o:p></b></span></span></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><u>The Gaze</u> <u>The Glance</u><o:p></o:p></span></div>
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<u><span style="font-family: Times, Times New Roman, serif;"><br /></span></u></div>
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<span style="font-family: Times, Times New Roman, serif;">Glares Glimpses<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Sober,
serious Subversive,
irreverent<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Depth Surfaces<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Lingers,
loiters Alights,
insouciant<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Scrutiny
Celerity<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Internalizes Enjoys <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Contemplates
Captivates<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Studies Surprises<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Stares Seduces<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Duration Instant<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Permanence Fleeting<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Intelligible Sensuous<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Centers Peripheries<o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Sitting
or standing Walking<o:p></o:p></span></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif;">While ambling
along a sidewalk, we can glance quickly or furtively into or across the street
or through a store window. We can be temporarily intrigued, astonished, or
captivated. We might momentarily enjoy curious sights or erotic encounters
without scrutinizing them closely in a threatening manner. Peripheral
vision—glimpsing or glancing off to the s</span></span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">ide—encourages bivalent exchanges and
eccentric (off center) interests rather than more one-sided or (self)-centered
frontal assaults on our surroundings.</span></div>
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<i style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">Touch. </i><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">By its very
nature, walking invites and involves elemental surface contact. It initiates
conversation between the feet and the ground; it introduces our bodies to and
into the world, the environing elemental medium.</span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;"> </span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">Ideas and images begin to form and flow; they
produce their own “kinesthesias” of a certain kind.</span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;"> </span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">The eyes and ears even seem to reach toward
outlets and objects as well with a sense of form of projected
intentionality.</span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;"> </span><span style="font-family: Times, 'Times New Roman', serif; text-indent: 0.5in;">As the poet Rilke puts it
in “Spaziergang” (A Walk), “My eyes already touch the sunny hill,/going far
ahead of the road I have begun./So we are grasped by what we cannot grasp.”</span></div>
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<span style="font-family: Times, Times New Roman, serif;">The Greek word <i>haptein<b>
</b></i>means more than simply to grasp or clutch with the hands<b> </b>in that it encompasses the broader
touching of an entire human body. Our
sense of touch is the manner in which we sensuously <i>com-prehend</i>—literally hold together in a joint way—the surrounding
world. We <i>be-hold </i>place and grow to inhabit it. When we walk within a
particular place, we become an ambling extension of it. We belong to it
bodily. <o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Even
with shoes on, we can differentiate, first, the qualities of rough and smooth,
soft and hard, and wet and dry along with, secondly, multiple kinds of surfaces
and substrates, whether they be wood, concrete, grass or brick in built
environments or mud, sand, gravel, stone, silt or dirt in more natural areas.
With the growing use of materials such as asphalt and concrete for walking and
driving surfaces, however, our tactile stimulation is increasingly simplified
and our senses are disengaged further from our surroundings. There is, in other
words, a concern with quite literally “losing touch” with the immediate
environment when our haptic senses are neglected.<b> </b>This development suggests the need for more varied, less uniform
walkways constructed of cobblestone, mosaic tiles, brick, wood, metal and other
physically and sensually-engaging surfaces which keep us more intimately
attuned with our own bodies, neighborhoods, and biotic communities.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="text-indent: 0.5in;">When walking, we need
attend to the tradeoffs between, on the one hand, being </span><i style="text-indent: 0.5in;">protected</i><span style="text-indent: 0.5in;"> by garments, hats, gloves, shoes, sunglasses or bug spray
which can occlude our senses or insulate our bodies) and, on the other hand,
being </span><i style="text-indent: 0.5in;">receptive</i><span style="text-indent: 0.5in;"> (open, responsive,
and inviting). We should be aware as well about the subtle tension and interplay
between comfortability and vulnerability—being too exposed to the elements or
another’s gaze but being aware of glancing communication that is generated
through our gestures and the corporeal semaphores we are forever sending.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">We might want the rain on our face at times
but not the direct sunlight in our eyes. Our nerve endings are capable of
distinguishing temperature changes to a tenth of a degree and even while wearing
clothing we should still be able to distinguish up to a dozen different
airspeeds. It is helpful in this regard to remember that the body is not simply
a closed container but a porous meeting point of our flesh and organs with the
ambient environment.</span><span style="text-indent: 0.5in;"> </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><i style="text-indent: 0.5in;">Sound.</i><span style="text-indent: 0.5in;"> As with sight
and physical contact, there is a complex and changing acoustic world to be
appreciated when we are on foot. As we walk, we <i>play the place</i>, in effect.
We attune and entrain ourselves bodily to the beats and “music” in the
margins and become part of a reverberating and sonorous “echo-system” that is
mixed and remixed constantly. Walking thus possesses a deeply musical aspect to
its motions, a dimension that is both temporal and spatial. As we walk, we are
often drawn along, as in a song, by the figures and surface elements in a
landscape. Like sheet music, there are
visual “notes” and “scores” to be sensuously encountered and creatively
“played” by the moving body. Fence
patterns, telephone posts, doors, hedges, flower boxes, trees, and many
architectural features provide opportunities for attuning oneself to a
neighborhood. The surface of the city
sidewalk or wilderness trail is rife, too, for possibilities of finding
syncopation, repetition, and rhythm. No wonder, then, that many walkers hum,
sing, or listen to music as they walk.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"> When
thoughtfully planned, sidewalks possess a rhythm that enhances, facilitates and
encourages energetic and engaged movement that is related aesthetically to the
landscape and surrounding objects and buildings. There are, then, multiple
possible responses to the challenges of “environmental boredom” and the
emergence of “blandscapes” (bland landscapes)—that is, when walkways, paths and
streets are overly uniform, uninteresting to our senses, or monotonous in
appearance. Such phenomena point to the need for changes of level and height,
the significance of altering surface qualities, the importance of providing
alternatives to the classical, if efficient, grid patterns, and the value of
placing curves in the “walkscape” in order to supplement open vistas and views,
a subject to which we now turn. <o:p></o:p></span></div>
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David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-65279078329763136532016-07-27T21:49:00.000-07:002016-07-27T21:49:45.514-07:00Elemental Walking: Earth, Air, Fire, and Water<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-margin-top-alt: auto; mso-pagination: none; tab-stops: 333.0pt; text-align: justify; text-autospace: none; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";">The elemental world—and particularly the four classical
elements of philosophy, mythology, and poetry as earth, air, fire, and water—is
deeply present in many forms of walking. Historically speaking, our walks
typically begin and then return to the hearth (fire), the heart of the home.
They might follow the directional flow and musical rhythms of a river or stream
(water).<span style="mso-spacerun: yes;"> </span>They are commonly guided and
affected by the shifting conditions of the sky (air) and ambient weather.<span style="mso-spacerun: yes;"> </span>And they are grounded in and governed by the
sensuous surfaces of the land (earth) as well as the confluence of earth and
sky in the visually orientation provided by the distant horizon. This elemental
fourfold is continuously cycled through a place and unified in the motions of
the moving body. The American naturalist Henry David Thoreau acknowledged this
association when he remarked,<span style="mso-spacerun: yes;"> </span>“This is a
delicious evening, when the whole body is one sense, and imbibes delight
through every pore. I go and come with a strange liberty in Nature, a part of
herself. As I walk along the stony shore of the pond in my shirt-sleeves,
though it is cool as well as cloudy and windy, and I see nothing special to
attract me, <i style="mso-bidi-font-style: normal;">all the elements are
unusually congenial to me.</i>”</span><span style="mso-bidi-font-family: "Times New Roman";">
</span><span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";">Here,
the fully embodied walker is in the depths of an encompassing elemental medium
as he detects and enjoys a bivalent sense of “sympathy with intelligence,” at
work in the natural world, where the individual is sensing the surrounding
environment but also likely being watched, felt, and heard, himself. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Palatino;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-family: Palatino;">We might even differentiate some walks through a
typology inspired by the four elements themselves and Thoreau’s inspired
engagement with them. First, there are <i style="mso-bidi-font-style: normal;">earth-walks</i>,
wherein we follow a directional axis across the plane of the proliferating
ground, our senses tuned to the sounds, smells, and sights that emerge before
us. Thoreau frequently engaged in such sauntering, angling his way into the
hills, wandering through the New England woods, and even keeping “appointments”
with specific trees he had grown to know and love. The elemental connections to
the soil, land and encompassing place are clearly integral keys to this form of
navigation. <o:p></o:p></span></div>
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<span style="font-family: Palatino;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-JI74QiTj3oc/V5mMrgkCLXI/AAAAAAAAANQ/Jb_0lxle-Vg2J_sycuAZ_nY-bMm2kzLsgCK4B/s1600/kol-boy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://4.bp.blogspot.com/-JI74QiTj3oc/V5mMrgkCLXI/AAAAAAAAANQ/Jb_0lxle-Vg2J_sycuAZ_nY-bMm2kzLsgCK4B/s320/kol-boy.jpg" width="320" /></a></div>
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<span style="font-family: Palatino;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Palatino;">Secondly, we might speak of <i style="mso-bidi-font-style: normal;">water-walks</i>.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>In some of his errant outings, Thoreau
descended into the moving waters, submerging himself in the palpable thickness
of a sensuous element.<b style="mso-bidi-font-weight: normal;"> <span style="mso-spacerun: yes;"> </span></b>These “fluvial walks,” as he called them,
occurred in local creeks, streams and rivers. <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>In such walks, which the
poet William Channing styled “riparial excursions,” we literally bathe in the <i style="mso-bidi-font-style: normal;">bathos</i> (Greek for “depth”) of the
elemental.<b style="mso-bidi-font-weight: normal;"> </b>We may struggle
physically with the force of an element that either resists us—offering its
weight in opposition—or, alternatively conducts and conveys us when we are
walking in the current’s given direction.<b style="mso-bidi-font-weight: normal;">
</b>As a Boy Scout, I river-walked the streams and waterfalls of Ricketts Glenn
State Park in northeastern Pennsylvania,<b style="mso-bidi-font-weight: normal;">
</b>mounting fallen tree logs, climbing over outcroppings of rocks, and
battling the flows of elemental fluids.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Palatino;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-cIHYUZ9jhkw/V5mNiaSTZkI/AAAAAAAAANY/axhg6A238SIzggJ-Y1J488uNtXr_hWtvQCK4B/s1600/676971.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://4.bp.blogspot.com/-cIHYUZ9jhkw/V5mNiaSTZkI/AAAAAAAAANY/axhg6A238SIzggJ-Y1J488uNtXr_hWtvQCK4B/s320/676971.JPG" width="320" /></a></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify; text-indent: .5in; text-justify: inter-ideograph;">
<span style="font-family: Palatino;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Palatino;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-family: Palatino;">Thirdly, there are <i style="mso-bidi-font-style: normal;">sky-walks</i>,<b style="mso-bidi-font-weight: normal;"> </b>an idea and
practice found among some Native American people who speak of “one who walks
all over the sky.”<b style="mso-bidi-font-weight: normal;"> </b>As Thoreau wrote,
“How few are aware that in winter, when the earth is covered with snow and ice
. . . the sunset is double. The winter is coming when I shall <i style="mso-bidi-font-style: normal;">walk the sky</i>.”</span><b style="mso-bidi-font-weight: normal;"> </b><span style="font-family: Palatino;">Here,
we should recognize that the air and atmosphere becomes significant and even
visible as cloud, fog, mist, and smoke during a walk so as to convey an ambient
mood and tone, including a sense of time through the position of sun or
filtered light, thereby contributing to the particular rhythms, pace, and
tempo, rhythm and pace of our walks.<o:p></o:p></span></div>
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<span style="font-family: Palatino;"><br /></span></div>
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<span style="font-family: Palatino;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Palatino;"><span style="mso-tab-count: 1;"> </span></span></b><span style="font-family: Palatino;">Finally, so as to complete the elemental tetrad,
we can identify <i style="mso-bidi-font-style: normal;">fire-walks,</i> even if
they are more creatively construed in a<b style="mso-bidi-font-weight: normal;"> </b>literary
rather than strictly literal sense.<b style="mso-bidi-font-weight: normal;"> </b>These
“walks” may occasionally involve a negotiation of fiery coals but they
increasingly entail the navigation of the lunar landscape (“moon-walks”), outer
space (“space walks”), or cyberspace and the electronic ether-world of the
Internet (“virtual walks”). <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b>They focus on elemental fire—or its
domestication via technology—to the extent that they occur outside the sphere
of the terrestrial (earthbound) economy of the elements in the thinned ether or
ethereal realm of space, especially if we rely upon the classical Aristotelian
theories of the four classical elements.<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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<span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";">Elemental
phenomena are fundamental to the life-world and to the capacious environment
itself, both of which are wrought and continually maintained by a dynamic
sensual interplay and dance of appearance and disappearance. They point to a
realm that is equally prior to and present in our everyday lives.<span style="mso-spacerun: yes;"> </span>As I suggested in my book, <i style="mso-bidi-font-style: normal;">Elemental Philosophy</i>:<o:p></o:p></span></div>
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<span style="font-family: Palatino; mso-bidi-font-family: "Times New Roman";">Both mundane and extraordinary encounters with elemental
realms have enduring implications. They leave something of themselves upon our
imaginations and aesthetic outlooks. Stone hardens our resolve. Clouds
give us license to drift and to dream. Air conducts our voice; water channels our
language; and each gives shape to our corporeal form. Ice and snow teach us
about the transience of sensuous things. Heat and cold temper our characters
and help forge our cultural identities and temperaments. Wood bequeaths us
substance for creative hands. Light reveals and clarifies while night invites
retreat and restorative rest. Fire magnifies the power of our muscles through
technology as it mocks and extinguishes human gestures pointed toward
permanence. And earth magisterially ballasts and balances of all this as a
supportive body.</span><span style="font-family: Palatino; font-size: 10.0pt; line-height: 200%;"><o:p></o:p></span></div>
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<br /></div>
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David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com3tag:blogger.com,1999:blog-6373941552963427464.post-59598852324042167542016-07-25T13:48:00.001-07:002016-07-25T13:51:44.598-07:00The Walking DeskAn essay by Susan Orlean on her treadmill desk:<br />
<br />
<a href="http://www.newyorker.com/reporting/2013/05/20/130520fa_fact_orlean">http://www.newyorker.com/reporting/2013/05/20/130520fa_fact_orlean</a><br />
<br />
<a href="http://2.bp.blogspot.com/-ZoA1CrpwQC8/V5Z67AbdQ5I/AAAAAAAAAMs/oCUZ7s_HspgsTkN4Es5pr6c85qTmxPufQCK4B/s1600/3ab1c4807fe5f8c66937ec46b9b4cbfe.jpg" imageanchor="1"><img border="0" height="320" src="https://2.bp.blogspot.com/-ZoA1CrpwQC8/V5Z67AbdQ5I/AAAAAAAAAMs/oCUZ7s_HspgsTkN4Es5pr6c85qTmxPufQCK4B/s320/3ab1c4807fe5f8c66937ec46b9b4cbfe.jpg" width="213" /></a><br />
<br />
Why, you ask . . . Because your chair just might be killing you! Here's more information:<br />
<br />
<a href="http://www.npr.org/sections/health-shots/2015/10/06/446295001/your-chair-is-killing-you-here-s-what-you-need-to-do-to-stop-it">http://www.npr.org/sections/health-shots/2015/10/06/446295001/your-chair-is-killing-you-here-s-what-you-need-to-do-to-stop-it</a><br />
<br />
<a href="http://4.bp.blogspot.com/-c28kLqKSgVo/V5Z5fOA_yZI/AAAAAAAAAMY/c1W5HcbwlEs7uDGJSWiSsJc7I_bGQifRACK4B/s1600/sitting-wrecks-your-body.jpg" imageanchor="1"><img border="0" height="213" src="https://4.bp.blogspot.com/-c28kLqKSgVo/V5Z5fOA_yZI/AAAAAAAAAMY/c1W5HcbwlEs7uDGJSWiSsJc7I_bGQifRACK4B/s320/sitting-wrecks-your-body.jpg" width="320" /></a><a href="http://4.bp.blogspot.com/-6uuEzCawuYU/V5Z5lQc6NsI/AAAAAAAAAMg/jSJSaQ0TvII5qRpA5QlUf29TZh2i7d7FQCK4B/s1600/first-electric-chair-Auburn-NY-photo-International-News.jpg" imageanchor="1"><img border="0" height="244" src="https://4.bp.blogspot.com/-6uuEzCawuYU/V5Z5lQc6NsI/AAAAAAAAAMg/jSJSaQ0TvII5qRpA5QlUf29TZh2i7d7FQCK4B/s320/first-electric-chair-Auburn-NY-photo-International-News.jpg" width="320" /></a>David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-2984213307622349662016-07-25T13:14:00.000-07:002016-07-25T13:50:20.311-07:00Walking on WaterYes, it is possible. Thanks to the artist, Christo.<br />
<br />
<a href="http://2.bp.blogspot.com/-vxOtV0lOGow/V5Zy6mgDj5I/AAAAAAAAAMI/p5Oeqy3qjcoQmaDlx4aihcRrXi6FyjreQCK4B/s1600/17christo-2-superJumbo-v3.jpg" imageanchor="1"><img border="0" height="192" src="https://2.bp.blogspot.com/-vxOtV0lOGow/V5Zy6mgDj5I/AAAAAAAAAMI/p5Oeqy3qjcoQmaDlx4aihcRrXi6FyjreQCK4B/s320/17christo-2-superJumbo-v3.jpg" width="320" /></a><br />
<br />
Here's an article from the New York Times on the project:<br />
<br />
<a href="http://www.nytimes.com/2016/06/17/arts/design/christos-newest-project-walking-on-water.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=photo-spot-region&region=top-news&WT.nav=top-news">http://www.nytimes.com/2016/06/17/arts/design/christos-newest-project-walking-on-water.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=photo-spot-region&region=top-news&WT.nav=top-news</a><br />
<br />
<br />
<br />
<br />David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-86042727906221471902014-07-30T18:51:00.001-07:002014-07-30T18:51:40.813-07:00Urban Echo-systems
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<a href="http://2.bp.blogspot.com/-c514AWAv88M/U9mgF0jh9-I/AAAAAAAAALY/lJ3h53EExWg/s1600/1236455_10202057468827743_1302538819_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-c514AWAv88M/U9mgF0jh9-I/AAAAAAAAALY/lJ3h53EExWg/s1600/1236455_10202057468827743_1302538819_n.jpg" height="298" width="400" /></a></div>
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<div class="MsoNormal" style="margin-right: -.5in; text-align: justify;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">Shhh . . . listen up. And listen down. Sidewalks are rich with
the sequestered</span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">and often surprising sounds of the city. A droning rattle rises
from the </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">subway beneath the streets; horns or jackhammers emerge like
percussive </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">drums; the click and clack of heels generates a rhythmic pulse;
crosswalk </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">signals summon us to slow down, stop or pick up the pace; pigeons
flutter </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">and take flight like the soft trill and roll of cymbals; a passing car
radio seizes </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">the tempo and briefly hijacks our attention. You are moving in a
polyphonic </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">and hybridic space, one teeming with the music—and, yes, jarring
noise—</span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">of growling machines, agitated or inspired voices, and intrepid
interlopers </span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">from the organic world. A conductor-less orchestra in search of a
tune. A </span><span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Helvetica;">strange echo-system indeed.</span><span style="color: #2b313c; font-size: 14pt;"><span class="Apple-style-span" style="font-family: Helvetica;"> </span></span></div>
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<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: x-small;">(Photo:
near Rittenhouse Square, Philadelphia)</span></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-92102493126958128772013-09-19T23:16:00.000-07:002013-09-19T23:21:32.972-07:00Walkers and Watchers: Eyes in the Sky<!--[if gte mso 9]><xml>
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<a href="http://2.bp.blogspot.com/-75ZDSivvvqk/UjvmftNlxJI/AAAAAAAAAKw/L5W3hlGwSW8/s1600/DSCN4343.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-75ZDSivvvqk/UjvmftNlxJI/AAAAAAAAAKw/L5W3hlGwSW8/s400/DSCN4343.JPG" width="300" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: large; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">In the cultures of the ancient Etruscans,
Egyptians, Greeks, and Romans, gargoyles watched over the lives of walkers, wayfarers
and wanderers who picked their way through the alleyways and public squares.
Assuming the form of fantastic animal figures, glowering human countenances, or
grotesque chimeras, they gazed down upon the <i style="mso-bidi-font-style: normal;">hoi polloi</i> and oversaw the energy of the bustling city street. <o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: large; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 11.0pt;">Gargoyle is related to the word “gargle,” as in
the gurgling waters that coursed through these architectural adornments, which
were often shaped to serve as decorative but functional drainpipes.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: large; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Now, of course, most pedestrian thoroughfares
are surveyed instead by faceless cameras that register and record our every
movement, conversation or purchase. We’ve come a long way, but sometimes it’s
difficult to admit that we have not always taken the best route.<span style="mso-spacerun: yes;"> </span>As you walk about, remain aware to what
you might happen to visually discover, but also try to attend to who (or what)
might be observing you.<span style="mso-spacerun: yes;"> </span>To be
sure, sight is usually a multi-directional event.<span style="mso-spacerun: yes;"> </span>To see is to belong to a world in which you will also be
seen and revealed.<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: large; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Here (above) on the wall of a church in Barcelona, you
can catch a glimpse of the historical juxtaposition and transition from stone-faced
eye-witnesses to the disembodied electronic eye of modern technology. And here (below) some living "gargoyles" in a delightful flight of fancy have taken over the drainpipe on a temple wall in India. </span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: large; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><span class="Apple-style-span" style="font-size: large;">Be alert, walkers, the world is watching.</span><o:p></o:p></span></b></div>
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<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-40208631035439076592013-08-19T22:33:00.000-07:002013-08-19T22:33:38.191-07:00Seed Bombs!
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<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: 0in; margin-right: -.5in; margin-top: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">They've replaced
gumballs with Seed Bombs (aka Green Grenades) on the sidewalks of San
Francisco. A la Johnny Appleseed, you can now walk around the city and bury
these globlets in sidewalk cracks, abandoned lots, or derelict urban sites. Then amble about and watch native plants blossom and reclaim the city.</span></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Try it in your
town.<span style="mso-spacerun: yes;"> </span>Grow the green
in the gray!<o:p></o:p></span></b></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14pt;">(Photo: Mission District, near Delores Park, San Francisco)</span></div>
<!--EndFragment-->
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-23474059164543201582013-08-17T15:38:00.002-07:002013-08-19T22:39:59.501-07:00Taking a Line (or a Curve) for a Walk . . . <!--[if gte mso 9]><xml>
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<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Our eyes and legs enjoy a
swerve. A serpentine turn or luscious curve. We live in a tyranny of straight
lines, in a universe of square boxes. Ours is an age ruled by perpendicularity.
But we also need voluptuous swirls, sensuous spirals, looping swerves,
sumptuous swooshes, and fanciful whorls. They help us to enter into and conduct
ourselves through the flow of things and to establish or recover bodily rhythm.
<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-LyA_jeJQXqQ/Ug_xRmEEPxI/AAAAAAAAAIw/nKvtHA5hOvI/s1600/DSCN9357.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-LyA_jeJQXqQ/Ug_xRmEEPxI/AAAAAAAAAIw/nKvtHA5hOvI/s400/DSCN9357.JPG" width="400" /></a></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><b><br /></b></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">Start counting the number
of straight lines in the room you occupy right now, and you may be sitting
there until kingdom come. They likely govern the patterns in the ceiling and
floor, the structure of the furniture, windows and doors, and so much more from
the hundreds located in the configuration of a single razor blade to those
found in the format, composition and content of books, to the lines inherent in
the very construction of the building itself.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-xiZxyuKnKvY/Ug_2iMZMrcI/AAAAAAAAAJs/1OO9ZE7g9J8/s1600/IMG_0185.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-xiZxyuKnKvY/Ug_2iMZMrcI/AAAAAAAAAJs/1OO9ZE7g9J8/s400/IMG_0185.JPG" width="300" /></a></div>
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<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">Now, step outside on a path
with alluring curves, and you just may be drawn into a world of
ever-proliferating wonder and probably a few surprises and hidden secrets.
Rarely, in fact, does one encounter a distinct right angle in the natural
world, except perhaps at a less perceptible, more microscopic level: in, say,
the veination of leaves or the cleavage of minerals and rocks. Nature, we could
provocatively claim, appears to abhor a straight line.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-5fyqBMR8iJM/Ug_xwm0pFgI/AAAAAAAAAI4/o_SSPE39Y-s/s1600/IMG_7536.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-5fyqBMR8iJM/Ug_xwm0pFgI/AAAAAAAAAI4/o_SSPE39Y-s/s400/IMG_7536.JPG" width="400" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">The English painter,
printmaker and critic William Hogarth first speculated that an undulating or
serpentine line provides the basis for a powerful experience of—and hence
theory about—visual beauty. He studied reactions to a range of shapes in
women’s corsets and discovered that people often prefer those with a particular
curvature. From such a perspective, an “S-curve” can generate a seductive
aesthetic tension between variety and uniformity. Too great a deviation from
such a norm is exhausting for the eye; to little courts the risk of monotony.
The serpentine line can be found in a great range of aesthetically interesting
phenomena from the decorative elements in fashion to the curves in a woman’s
body, and it may be responsible, in part, for creating a type of more
objective—or at least inter-subjective—beauty.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-KozGV4uFNMU/Ug_3jt2ycWI/AAAAAAAAAJ4/kMTkglsD0ts/s1600/482989_3565927716345_1395146422_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://2.bp.blogspot.com/-KozGV4uFNMU/Ug_3jt2ycWI/AAAAAAAAAJ4/kMTkglsD0ts/s400/482989_3565927716345_1395146422_n.jpg" width="400" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Artists and architects, of
course, occasionally challenge the hegemony of the straight line, right angle
and square frame by introducing curvature into their works. Both Antoni Gaudi
and Friedrich Hundertwasser employed playful curvilinear forms in their
buildings to great success and delight. Hundertwasser, in fact, authored a
“Mold Manifesto” that critiqued the proliferation of straight lines, bland
functionalism, and blind adherence to rationalism in architecture and, in turn,
celebrated the fluidity one finds in more organic shapes and materials. “</span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 12.0pt;">It is time people themselves rebelled against
being confined in box-constructions, in the same way as hens and rabbits are
confined in cage-constructions that are equally foreign to their nature,” he
wrote.</span><span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"> </span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-size: 12.0pt;">He added: “This jungle of straight lines, which
increasingly hems us in like prisoners in a jail, must be uprooted. Until
now man has always uprooted the jungle in which he found himself and set
himself free. But first he has to become aware that he is living in a jungle,
for this jungle has grown up surreptitiously, unnoticed by the population.”
Hundertwasser extended this perspective to include physical movement as well: </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><span style="mso-spacerun: yes;"> </span></span></b><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">“The
line I trace with my feet walking to the museum is more important and more
beautiful than the lines I find there hung up on the walls.”</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-VpJeMBCgC1U/Ug_0TCZwsAI/AAAAAAAAAJg/OPF5f4BOjuU/s1600/800px-Magdeburg_Hundertwasserhaus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="http://4.bp.blogspot.com/-VpJeMBCgC1U/Ug_0TCZwsAI/AAAAAAAAAJg/OPF5f4BOjuU/s400/800px-Magdeburg_Hundertwasserhaus.jpg" width="400" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">With sidewalks and other
walkscapes, alternatives to or disruptions of the uniformity and predictability
of the grid plan can serve as welcome aesthetic features in an urban environment,
introducing novelty or the unknown into the experience of place. In rural
areas, some streams that have been straightened (de-meandered) to expedite the
goal of efficiency in water delivery have been later re-meandered so as to
return previously existing curves because of strong local protests and
reactions against the straightening of the water flow, which leads
inadvertently to “blandscapes” or a sense of boredom in travel by boat or foot.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-oOML3whELPg/Ug_ygM9SdnI/AAAAAAAAAJE/0ZR4NMDDYS8/s1600/DSCN0758.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://1.bp.blogspot.com/-oOML3whELPg/Ug_ygM9SdnI/AAAAAAAAAJE/0ZR4NMDDYS8/s400/DSCN0758.JPG" width="400" /></a></div>
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<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">In a broader sense, what we
are here considering is the “shape” that a walk takes, the particular geometric
form, experiential path or dynamic pulse that it follows, responds to, or
amplifies as one journeys through place. Thoreau, for example, confessed to
walking frequently in a parabola, “like one of those cometary orbits, which
have been thought to be non-returning curves.”</span><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"> </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-2bhzyf-JSTM/Ug_y54K5HwI/AAAAAAAAAJM/sNM9qv9EejM/s1600/559351_4318477249613_211110585_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-2bhzyf-JSTM/Ug_y54K5HwI/AAAAAAAAAJM/sNM9qv9EejM/s400/559351_4318477249613_211110585_n.jpg" width="300" /></a></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><o:p><br /></o:p></span></div>
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<span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">“A line is a dot that went
for a walk,” the artist Paul Klee once proclaimed. Indeed, this very point
(claim) seems designed to set static points (dots) in motion and to link them
with other geographical positions or aesthetic dispositions. The video below is
one short illustration inspired by Klee’s proclamation:</span></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://www.youtube.com/watch?v=smRsnKl1laI">http://www.youtube.com/watch?v=smRsnKl1laI</a><o:p></o:p></span></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Klee, too, spoke of drawing
and, by extension artistic creation, in terms of “taking a line for a walk.”
Here, the hand assumes the role of the foot in movement across paper,
generating a path that evolves into an image or picture. What the remark
likewise gestures toward is the notion that there are vastly different kinds of
lines just as there are sundry styles and types of walks. A penciled or painted
line, like a walk, can ramble and wander or proudly strut about or dawdle in minute,
impressionistic details, or rush headlong to a pre-given destination.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoBodyText2" style="margin-right: 0in; text-align: justify;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">Interestingly, one artist has combined the actions
of the hand with those of the foot into a piece he styles, “Walking Drawing.”
Essentially, Tom Marioni strolled back and forth between ends of a long
horizontal sheet of paper affixed to the wall while drawing utensils were attached
to his body at the hip. The work both records his actual walk—his paces across
a measured space; his repeated comings and goings—and also depicts a rolling
landscape via a series of undulating brown and green lines, intimating an
autumnal scene.<span style="mso-spacerun: yes;"> </span>It invites us to
ponder the question, “Did the walk fashion the work (and the landscape itself
make a picture), or did the work inspire a walk (and the resultant picture form
a landscape)?” In either case, the conscious activities of the walker (artist),
though initially intentional and directed, are downplayed, subordinated to the
activity of walking itself, which asserts its own creative potential. The title
of the work—composed of two present-tense verbs, walking and drawing—redoubles
the ambiguity and suggests the chiasmatic and bivalent aspects between walker
and walk; art and earth; motion and static representation, and even reader
(critic) and landscape (text). The drawing is accomplished via the line of
walking and is itself a drawing of walking. The work reminds us quietly, too,
that walking involves a form of cyclical rolling—from heel to ball to toe of
foot and back again—as one old English etymology for walk, from “to roll” or
“roll up”, suggests.<o:p></o:p></span></div>
<div class="MsoBodyText2" style="margin-right: 0in; text-align: justify;">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-hkwf9OagKnw/Ug_7OEpdeSI/AAAAAAAAAKQ/Htz5DxutGEg/s1600/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="166" src="http://3.bp.blogspot.com/-hkwf9OagKnw/Ug_7OEpdeSI/AAAAAAAAAKQ/Htz5DxutGEg/s400/Unknown.jpeg" width="400" /></a></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><br /></span></div>
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<span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">In San Francisco, I once
chanced across and followed a purple painted line that snaked and wended its way along
the sidewalk through the Mission District of the city for quite a few blocks.<span style="mso-spacerun: yes;"> </span>As I pursued the continuous marking, I
was in a sense also “drawn” into the neighborhood myself, anticipating a
possible surprise or revelation at its eventual terminus.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-MQfCLmfurWU/Ug_48un92DI/AAAAAAAAAKE/Q94EDO1B4QE/s1600/216653_1930258705642_6372264_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-MQfCLmfurWU/Ug_48un92DI/AAAAAAAAAKE/Q94EDO1B4QE/s400/216653_1930258705642_6372264_n.jpg" width="300" /></a></div>
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<span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">In New York, an artist known
as Momo painted a thin orange line that travels around the city for eight
uninterrupted miles—through SoHo, Greenwich Village, and the Lower East
Side—spelling out his name in the process on the streets and sidewalks. Apparently,
New Yorkers have walked upon the colored trace—the world’s largest graffiti
tag—for years without realizing it. Momo put together a short film (below) of
the line, which was inspired by a series of purple footprints emblazoned on the
sidewalk that he had seen and followed as a child. The path they formed
stretched around the city and led to a community garden space named “The Garden
of Eden” which the city, unfortunately, had bulldozed.</span></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://momoshowpalace.com/+BigVIDEO.htm">http://momoshowpalace.com/+BigVIDEO.htm</a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Another artist,
Eve Mosher, has used a winding waterline as a way to show the dangers
associated with rising seas caused by global climate change. She walked and
chalked seventy miles of New York City to generate a line that indicates where
the floodwater will be when it rises ten feet. <span style="mso-spacerun: yes;"> </span>As she walks the line, she learns about and speaks directly
with members of local communities concerning the effects of global warming. Recently,
I had the chance to speak with her at The Chemical Heritage Foundation Museum
in Philadelphia, where the second of the following two videos was produced:<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://vimeo.com/18799070">http://vimeo.com/18799070</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://sensingchange.chemheritage.org/sensing-change/art/highwaterline">http://sensingchange.chemheritage.org/sensing-change/art/highwaterline</a><o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">Walking, then,
involves both predictable choices and unusual chances for exploring placescapes
in either straightforward or more meandering ways.<span style="mso-spacerun: yes;"> </span>When you are finished reading this brief meditation on
ambulation and done with stationary “surfing” on the Internet, you might
consider stepping outdoors and taking a line for a walk . . . or maybe going
for a slow stroll with a curve.<span style="mso-spacerun: yes;">
</span>Enjoy!</span></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-2VvDZ2DMnr0/Ug_zKaf2-WI/AAAAAAAAAJU/nQMJM51zX7A/s1600/603459_4339583977268_1449576015_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://3.bp.blogspot.com/-2VvDZ2DMnr0/Ug_zKaf2-WI/AAAAAAAAAJU/nQMJM51zX7A/s400/603459_4339583977268_1449576015_n.jpg" width="400" /></a></div>
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<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span>
<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span>
<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><i>Photos: (i) Walking path on Route 352, near Penn State, Brandywine campus (ii) Floor patterns, Lima, Peru (iii) Clark Park, Philadelphia (iv) Gaudi architecture, Barcelona, Spain (v) Hundertwasser building (vi) Sidewalk, St. Petersburg, Florida (viii) Galway, Ireland (ix) Tom Marioni, "Walking Drawing" (x) Painted line on sidewalk, San Francisco, CA. (xi) Road, Northern Ireland.</i> </span></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com1tag:blogger.com,1999:blog-6373941552963427464.post-21553675780702236022013-08-11T20:28:00.001-07:002013-08-19T22:37:15.201-07:00Car walking<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><a href="http://1.bp.blogspot.com/-_oEGyhrkOV8/UghVS2NIUmI/AAAAAAAAAIY/hf44JXBMdso/s1600/IMG_1112.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://1.bp.blogspot.com/-_oEGyhrkOV8/UghVS2NIUmI/AAAAAAAAAIY/hf44JXBMdso/s400/IMG_1112.JPG" width="400" /></a></span></div>
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<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><br /></span></span></div>
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">Here’s my small
rant and photographic gesture of support for “car walking” and pedestrian
power. When a vehicle encroaches onto or idles in a crosswalk at an
intersection and doesn't back off or acknowledge your presence and his or her
mistake with, say, a tip of the cap or another humble sign of recognition, I
advocate walking on up over the hood of the car and continuing on your gallant
way. If the driver happens to exit the vehicle with the intent to harm
(because, well, some people seem to imagine their autos to be extensions of
themselves), then they have just surrendered the perks of about 4,000 pounds of
power, and you can choose from a repertoire of possibilities to put them
comfortably on the road, preferably in either a supine or prone position. A
well-placed boot usually does the trick.<span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"></span></span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><br /></span></span></div>
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;">
</span></span>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><a href="http://1.bp.blogspot.com/-IxUyQkrxlGY/UghVymq7N0I/AAAAAAAAAIg/bMekstlsmzI/s1600/DSCN0241.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://1.bp.blogspot.com/-IxUyQkrxlGY/UghVymq7N0I/AAAAAAAAAIg/bMekstlsmzI/s400/DSCN0241.JPG" width="400" /></a></span></span></div>
<span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><o:p><br /></o:p></span></div>
</span></span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino; font-size: 19px;">In Munich, Germany,
one advocate for pedestrian rights has taken to the practice of car walking
when vehicles park on the sidewalk.<span style="mso-spacerun: yes;">
</span>He has also proceeded to challenge unruly motorists by walking slowly in
the street to calm overzealous and speeding drivers, who threaten the safety of
walkers and bikers.</span><span class="Apple-style-span" style="color: #2b313c; font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">Here are two videos about his actions:<o:p></o:p></span></div>
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<br /></div>
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<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://www.youtube.com/watch?v=lbuxuXwhJqM">http://www.youtube.com/watch?v=lbuxuXwhJqM</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;"><a href="http://www.youtube.com/watch?v=T7jRuQeVAr4">http://www.youtube.com/watch?v=T7jRuQeVAr4</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="color: #2b313c; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">What do readers
think? <o:p></o:p></span></div>
<!--EndFragment--></span></span><br />
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-5305917696560802402013-07-30T21:04:00.000-07:002013-08-19T22:43:04.759-07:00Walking Within Walking: On the Dilemmas and Delights of Repetition <!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="font-family: Palatino;"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">As is wont to happen, we often find ourselves walking the same paths,
treading well-worn trails to school, work, and the store, or setting out over
recognizable sidewalks and streets for exercise or enjoyment. For some
individuals, this recurrence can generate a form of boredom from which there is
no apparent escape, while for others it seems to offer the quiet pleasures and
familiar consolations associated with the rhythms of circadian life. How might
we best think about and interpret these routes and routines? How do our
personal and daily walks open a portal into the larger world that is walking,
which may be governed by its own order and internal logic?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span><br />
<span class="Apple-style-span" style="font-family: Palatino;"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-cvqtrkygHrA/UfiME90M2dI/AAAAAAAAAH4/-umR08azN3o/s1600/DSCN9690.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://2.bp.blogspot.com/-cvqtrkygHrA/UfiME90M2dI/AAAAAAAAAH4/-umR08azN3o/s400/DSCN9690.JPG" width="400" /></a></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Palatino;"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></span></div>
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<span class="Apple-style-span" style="font-family: Palatino;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Palatino;"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">At the very heart of human ambulation is repetition. Walking is by
its very nature a repeated physical action. It is a perpetually revisited
“falling,” coupled with an inveterate catching and “re-collection” of our
tumbling momentum. In terms of biomechanics, there is always a cycling—or
recycling—in operation of both the churning legs and turning arms.<span style="mso-spacerun: yes;"> </span>The body, and the lower limbs
especially, might even be envisioned as an unorthodox organic wheel that
carries us across the unfolding landscape.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<span class="Apple-style-span" style="font-family: Palatino;">
</span>
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<span class="Apple-style-span" style="font-family: Palatino;"><br /></span></div>
<span class="Apple-style-span" style="font-family: Palatino;">
</span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-family: Palatino;"><a href="http://1.bp.blogspot.com/-Gs-gJ8kxCjM/Ufh5a5QxSnI/AAAAAAAAAGw/Nugd-TC1vMI/s1600/fulton+walk365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="http://1.bp.blogspot.com/-Gs-gJ8kxCjM/Ufh5a5QxSnI/AAAAAAAAAGw/Nugd-TC1vMI/s400/fulton+walk365.jpg" width="400" /></a></span></div>
<span class="Apple-style-span" style="font-family: Palatino;">
</span>
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<span class="Apple-style-span" style="font-family: Palatino;"><i><br /></i></span></div>
<span class="Apple-style-span" style="font-family: Palatino;">
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<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Internal to the container of our own corporeal form, there is also a
repetition of the beating heart and the pulsing breath, which moves through an
incessant cycle of inhalation and exhalation. As the poet Jean Tardieu puts it,
“In order to advance, I walk the treadmill of myself/Cyclone inhabited by
immobility/But within, no more boundaries.” <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Along the way, distinct styles of ambulation emerge through the force
and frequency of our reduplicated steps. Repetition becomes the hallmark of the
way we appear, the signature that we author each time we saunter—more
“foot-writing” than “hand-writing” perhaps—as a continuously exhibited and
soon-erased trace of our fleeting presence. Indeed, we recognize friends,
family members, and “familiar strangers” at a distance by the manner in which
they repeatedly walk, much as we identify and come to know them through their
characteristic voices and gestures or the movements they manifest in other
activities like eating, talking or dance. Style is our peculiar way of showing
and issuing forth in the world, a trait involving individuality, affect, habit and
nuance. There are, for example, those who demonstrably shuffle or bounce or
sashay or strut, to name but a few styles. Monty Python’s skit, “The Ministry
of Silly Walks,” is a humorous twist on this point.<span style="mso-spacerun: yes;"> </span>Here is the episode:<o:p></o:p></span></div>
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<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<a href="http://www.youtube.com/watch?v=iV2ViNJFZC8"><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">http://www.youtube.com/watch?v=iV2ViNJFZC8</span></a><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-FBi_uni54tY/Ufh4JomWFDI/AAAAAAAAAGg/FzH7ixmNmRM/s1600/silly_walks_small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-FBi_uni54tY/Ufh4JomWFDI/AAAAAAAAAGg/FzH7ixmNmRM/s320/silly_walks_small.jpg" width="311" /></a></div>
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<i><br /></i></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">We learn to recognize, too, the footfalls of those whom we may
initially know more visually through their vertical posture or bodily
comportment: that is, by the distinct sounds they generate in particular kinds
of pacing or, say, the unique pressure of their heels clicking and clacking on
wooden floorboards or the repeated squeaks and squishy glide of their approaching
sneakers parading proudly down a tiled hallway. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Interestingly, we can pick out ourselves as well when viewing ambling
styles on a video monitor, but as we walk we cannot generally see our own gait
(even in a mirror) since the observing eye interferes and alters our natural
movement. However, because we can recognize it on a screen (as silhouette),
perhaps we have an immanent sense of the way our walk looks from the inside, so
to speak. There is, in other words, a deep bodily connection at work. As the
philosopher Alphonso Lingis has observed, “the body is the locus of a primary
reflexive circuit doubling up into inner motor diagram and externally
observable thing, each inscribing itself in the other.” <o:p></o:p></span><br />
<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-LMZazoVYuOw/UfiLOzieYOI/AAAAAAAAAHs/luB5ck9FubY/s1600/DSCN9476.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://2.bp.blogspot.com/-LMZazoVYuOw/UfiLOzieYOI/AAAAAAAAAHs/luB5ck9FubY/s400/DSCN9476.JPG" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
</div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Repetition also occurs by way of the fact that we stride through particular
and unique locales on a regular basis. We walk to the same subway or bus stop
each day. We amble again down the halls of our work environments dozens of times
every morning and afternoon. We stroll through our gardens, or we walk to our
favorite cafés, parks or bars again and again. We take the dog out for his—and
our—turn around the block once more. This repetition not only serves to conduct
us across ground—to cover space as extension—but to deepen our engagement with
and understanding of lived place, our inhabited and meaning-bearing
surroundings. What from the “outside” (observer’s point of view) seems to be
mere repetitiveness, from the “inside” (an experiential vantage) may suggest
something else, or something more. Over time, it might lead to a transformation
of consciousness—through discipline or a kind of <i style="mso-bidi-font-style: normal;">askesis</i> (ascetic practice)—and a new view of the world. <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">The German philosopher, Immanuel Kant, was known for the regularity
and predictability of his daily walks.<span style="mso-spacerun: yes;">
</span>So reliable were his trips on foot through </span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt; mso-bidi-font-weight: bold;">Königsberg</span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> that
the eighteenth century residents of his neighborhood set their clocks to his
passing. Although never traveling more than fifty miles from his birthplace—despite
lecturing on the field of geography—Kant walked up and down a narrow half-mile
street near his house up to eight times each day beginning exactly at 3:30 PM
for nearly sixty years of his life. Breathing deeply with his mouth closed,
wearing a long coat and cocked hat, and waving a rattan cane to both increase
circulation in his body and to fend off talkative locals, he strolled on what
cab drivers in the city (now Kaliningrad) presently call “The Philosopher’s
Walk”. <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-8cYCFAB5lI8/Ufh3A8V_L5I/AAAAAAAAAGM/zzIDAKtt860/s1600/kant-and-walking-stick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-8cYCFAB5lI8/Ufh3A8V_L5I/AAAAAAAAAGM/zzIDAKtt860/s400/kant-and-walking-stick.jpg" width="222" /></a></div>
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<i><br /></i></div>
</span><span class="Apple-style-span" style="font-family: Palatino; font-size: 19px;">“The purpose of walking in the open air,” Kant writes in <i style="mso-bidi-font-style: normal;">The Conflict of the Faculties</i>, “is
precisely to keep one’s attention moving from one object to another and so to
keep it from becoming fixed<i style="mso-bidi-font-style: normal;"> </i>on any
one object.” One may be tempted to speculate nevertheless that in Kant’s case
we find an instance of what Freud diagnosed as “repetition compulsion” and
later theorists extended into other formulations involving fixation.<span style="mso-spacerun: yes;"> </span>After all, he did walk the very same
route over and over again hundreds of thousands of times. But another way to
perceive his repeated walks might be relative to either Kant’s philosophical
approach or his personal temperament, both of which were given to extreme
discipline, assiduousness, and attentiveness. Thinking and walking are decidedly
different actions for him—the former having a clear and distinct object of
focus and the latter none in particular—and when they occur in tandem, Kant
believed, they can produce a dizzying, disorienting vertigo.</span><span class="Apple-style-span" style="font-family: Palatino;"><span class="Apple-style-span" style="font-size: 19px;"><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Like Kant and other philosophers such as Rousseau and Nietzsche, </span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">Søren</span><span style="font-family: Palatino; font-size: 16.0pt; mso-bidi-font-family: Times;"> </span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Kierkegaard
was an enthusiastic traveler by foot. The great Dane sauntered the streets of Copenhagen
as a way to address or sublimate his experiences of melancholy and alienation
and to compose many of his written works, which are now part of the
Existentialist tradition. “Health and salvation can only be found in motion,”
he proclaimed. “If anyone denies that motion exists, I do as Diogenes did, I
walk.<span style="mso-spacerun: yes;"> </span>If anyone denies that health
resides in motion, then I walk away from all morbid objections.” Kierkegaard
was also fascinated by the phenomenon of repetition, which may help to account
for some of his passion for walking. “The love of repetition is the only happy
love,” he confessed. Kierkegaard viewed repetition and recollection as sharing
in the same movement although happening in different directions since “what is
recollected has been, is repeated backward.” And whereas repetition is
conducive to happiness and transition into the future, recollection causes us to
be unhappy and is tied to the past. Similarly, with bodily ambulation one can
discover and indulge in one’s bliss. As Kierkegaard avows, “If one keeps
walking, everything will be all right.” <b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-L_EPZ5JC3Ls/Ufh3aKA74hI/AAAAAAAAAGQ/GuCK_sP2afE/s1600/kierkegaard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-L_EPZ5JC3Ls/Ufh3aKA74hI/AAAAAAAAAGQ/GuCK_sP2afE/s400/kierkegaard.jpg" width="173" /></a></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Repetition serves as a defining mark or essence of an entity or
process. It involves a trait or quality that is identifiable—or seemingly so—over
time: the refrain, mantra, image, or word that seizes our senses or settles
into our memories and imagination.<b style="mso-bidi-font-weight: normal;"> </b>In
the case of walking, such repetition can alight and express itself through the
medium of the body or the vessel of place. But repetition need not be
interpreted solely as numerical (as opposed to qualitative) sameness or
self-sameness. Change is always in play and at work.<span style="mso-spacerun: yes;"> </span>In a walk, however much we strive to recover, return to or
recreate earlier conditions, it will be true that the path or weather or
temperature are sure to be slightly distinct, as will be our evolving state of
mind and subjective feelings. Therefore, as Kierkegaard notes, the only true
and exact repetition is to repeat “the impossibility of repetition.” <o:p></o:p></span><br />
<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-xuqepsMunFQ/UfijRWM8WqI/AAAAAAAAAII/ozTFT9cMjj0/s1600/tumblr_lqq3a7GZoz1qmt881o1_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="http://3.bp.blogspot.com/-xuqepsMunFQ/UfijRWM8WqI/AAAAAAAAAII/ozTFT9cMjj0/s400/tumblr_lqq3a7GZoz1qmt881o1_500.jpg" width="400" /></a></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Repetition-with-difference provides a twist. In this regard, the coil
or curve is perhaps somewhat akin to a </span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt;">Möbius</span><span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> strip,
where the inside subtly turns and transitions to become the outside. There is
continuity but also change, commonality as well as testament to difference. Gilles
Deleuze, in fact, proposes a model of repetition as a system of relations that
is similar to a spiral (as opposed to a simple circle), making possible new
formations and metamorphoses rather than merely duplicating singularities or
patterns or, alternatively, subsuming particulars under a universal—what he
terms “bare repetition”. For Deleuze, repetition is related to a unique series
of events or objects. He thus distinguishes a “qualitative order of
resemblances,” which is represented by the image of a cycle, from a “quantitative
order of equivalences,” which finds its symbol in equality. <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-NjC2AnmdzMM/Ufh6avPRHEI/AAAAAAAAAG8/XWIGg3co-Gs/s1600/DSCN8081.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="http://4.bp.blogspot.com/-NjC2AnmdzMM/Ufh6avPRHEI/AAAAAAAAAG8/XWIGg3co-Gs/s400/DSCN8081.JPG" width="400" /></a></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><o:p><br /></o:p></span></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><o:p><br /></o:p></span></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Experientially, a sense of enchantment and a suggestion of the
sensuous seem to be bound up with encounters of repetition.<span style="mso-spacerun: yes;"> </span>We take delight in the presence of
discernable patterns, colors, textures, sounds and smells. But we are also charmed
by surprises that break the order, disrupt the familiar so as to interject
wonder, awe or curiosity into our pathways.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-3fsyXF_LVu4/UfiIsXCoEqI/AAAAAAAAAHM/AqRLxTg35sg/s1600/DSCN8875.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-3fsyXF_LVu4/UfiIsXCoEqI/AAAAAAAAAHM/AqRLxTg35sg/s400/DSCN8875.JPG" width="300" /></a></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">One interesting instance of repetition is provided by the artist,
Richard Long, who has devoted himself since the late 1960’s to exploring the
aesthetic aspects of walking in the landscape through his environmental
sculptures. The connection between sculpture and walking, in fact, is what art
historian and critic, Lucy Lippard, claims as the source for considering
walking to be an art rather than merely a performance. One of Long’s works, <i style="mso-bidi-font-style: normal;">Line Made by Walking</i>, for example, is a
black and white photograph that depicts a path in the grass running through the
center of the picture. It was “drawn” with his feet—via the repetition of his
steps so as to suggest walking <i style="mso-bidi-font-style: normal;">within</i>
walking itself—and appears both commonplace (pedestrian, ordinary) and yet
oddly ambitious at the same time in marking the earth itself. In this regard,
it gestures implicitly toward Robert Smithson’s well-known “Spiral Getty,”
which itself is a walkable “pedestrian scale” path of rock and earth in the
Great Salt Lake. <o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-a8X_n-aqX9c/Ufh3xKtUSpI/AAAAAAAAAGY/qTxT38PiC9M/s1600/linewalking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://2.bp.blogspot.com/-a8X_n-aqX9c/Ufh3xKtUSpI/AAAAAAAAAGY/qTxT38PiC9M/s400/linewalking.jpg" width="341" /></a></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">Playing on a sense of ambiguity through the intellectual beauty,
singularity and visual clarity generated by a simple straight line, the work
raises the question for us of whether the line is an enactment of walking—a
performance in effect—or a sculptural trace of the repeated walking and, it
demands of the viewer to engage in some interpretive thinking. Without
describing the surroundings, a walk or anything else for that matter, the work also
suggests some of the differences between traditional art-based aesthetics and
emerging environmental aesthetics: first, it occurs outdoors (a larger context
than the conventional art world of indoor museums and galleries); secondly, it
is impermanent and temporary (in contrast to a typical striving for permanence
in the art world); and, thirdly, it is practical in that one can put to use the
path made by the walking (unlike most paradigmatic artworks. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Palatino; font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">How, then, might we best find delight in the repetition afforded by
familiar walks without succumbing to the trap of monotony? The poet W. H. Auden
observes, “the ear tends to be lazy, craves the familiar and is shocked by the
unexpected; the eye, on the other hand, tends to be impatient, craves the novel
and is bored by repetition.” Whether this opposition is fully justified or not,
varying walking surfaces and the times of day in which we amble about can
surely contribute to a deepening sense of engagement with the surrounding
landscape and place. The desire to repeat is often tethered to the desire to
affirm, to say “yes” again and again to what we have experienced once before.
But this same desire can also be yoked to a longing, a yearning for what is
past and long gone. How we relate to the world of repetition depends in part
upon whether we perceive ourselves as backpedaling, progressing forward creatively, or simply stepping sideways in the ever-fluctuating stream of time.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br />
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<div style="text-align: center;">
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<!--EndFragment--></span></span><br />
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-78933210712408884182013-07-15T21:48:00.000-07:002013-08-19T22:43:46.121-07:00Walking the sheep<!--[if gte mso 9]><xml>
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<h3>
<span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">This
is the way we walk our sheep, walk our sheep, walk our sheep . . . </span><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">so early in
the morning! Apparently, some enterprising folk are renting </span><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">out these wooly
creatures as inexpensive and sustainable lawn mowers! </span><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">One dollar per hour I've
heard. <span style="mso-spacerun: yes;"> </span>The sheep receive some healthy exercise </span><span style="color: #262626; font-family: Palatino; font-size: 14.0pt; mso-bidi-font-family: "Lucida Grande"; mso-bidi-font-size: 13.0pt;">while </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">they freely feed.<span style="mso-spacerun: yes;"> </span>And you
get your grass cut along with a </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">complementary conversation piece or a pleasant distraction
for motorists and pedestrians </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">who might pass by.<span style="mso-spacerun: yes;"> </span>Here is a photo I snapped of some women walking </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">their sheep near The Nature Institute and biodynamic farm in </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">Hawthorne </span><span class="Apple-style-span" style="color: #262626; font-family: Palatino; font-size: 19px;">Valley, New York
which I visited with friends.</span></h3>
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<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-77996393251404989232013-07-15T16:58:00.000-07:002013-08-19T22:46:48.014-07:00Walking Meditation<!--[if gte mso 9]><xml>
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<br />
<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Walking occupies a special role
within Eastern philosophical thought and </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">daily practice. Throughout Asia, sages
and monks have sauntered the </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">countryside for centuries in search of
enlightenment. Walking is even </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">accorded a place as one of the “Four Dignities”
(key modes of being and </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">integral bodily postures) in China, along with
standing, sitting and lying. </span></span></h3>
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<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Buddhist
classics such as the <i>Dhammapada</i>—which
literally means the </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><i style="mso-bidi-font-style: normal;">dharma</i> (truth or
law) of the foot, path or step—regularly celebrate the </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">virtues of walking as a
method and living metaphor for how to conduct </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">one’s l</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">ife. The work espouses, in
particular, the merits of an “Eight-fold </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Path” </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">for responding to the recurring
phenomenon of human anxiety and </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">pain </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">(<i style="mso-bidi-font-style: normal;">dukkha</i>).
“Walking upon this path you will make an end of
suffering,” </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">it </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">declares.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small; font-weight: normal;"> </span></span></h3>
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<h3>
<span class="Apple-style-span"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This embodied language is further extended: “If you find an intelligent </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">companion
who will
walk with you,
who lives wisely, soberly, </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">overcoming </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">all dangers,
walk with
that person in joy and thoughtfulness.” </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">While </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">adhering to the imagery of a
path, the <i style="mso-bidi-font-style: normal;">Dhammapada</i> advocates an </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">ethics of </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">both vigilance and
diligence: “Good people walk on regardless of </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">what </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">happens to them.”</span></span><span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></span></h3>
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<b><span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></b></div>
<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The
most popular Taoist book, <i style="mso-bidi-font-style: normal;">Tao Te Ching, </i>similarly
counsels “the way” </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">as a route through life that is physically and
metaphysically walked. We read,</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> for example, “Gladly then the Way
receives/Those who choose to walk in </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">it,” though we also encounter a warning
that movement on foot is not always </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">such a straightforward or linear
enterprise: “He who tiptoes cannot stand; he </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">who strides cannot walk.” Still, the
Chinese character for the elusive </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and mysterious <i style="mso-bidi-font-style: normal;">Tao</i> 道 consists of two parts—one referring to the human
head </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and the other to walking—thereby connoting a genuine path or journey </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">through the inhabited world. “A person's heart and
mind are in chaos,” a </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Taoist text reminds us. “Concentration on one thing makes
the mind pure.
</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">If one aspires to reach the <i style="mso-bidi-font-style: normal;">Tao</i>,
one
should practice walking in a circle.”
</span></span></h3>
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</h3>
<h3>
<span class="Apple-style-span" style="background-color: white; font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Within
Zen Buddhism, <i>koans</i>—riddling remarks
put to practitioners—</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">might inquire, “What is Zen?,” and tack on paradoxical
replies such as “Walk </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">on” or “Walk without feet,” in an attempt to propel one towards
<i style="mso-bidi-font-style: normal;">satori,</i> a </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">sudden insight into the
nature of things.<span style="mso-spacerun: yes;"> </span>At the entrance
to many Zen </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">monasteries, too, one often finds a sign with the words, “Watch
your step.”<span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">This message, of
course, implies one should take care as one walks, but in </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">another sense it
advises us to be forever mindful or watchful as we go about </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">our everyday lives.
Thus, when a 14<sup>th</sup> century monk asked his teacher, “What </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is the
essence of Zen,” the Master responded, “Watch your step.”</span></span></h3>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-36rWar1j_uA/UeQ3uNws0dI/AAAAAAAAAFI/pMUCS49LfIk/s1600/DSCN2028.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="background-color: lime; color: black; font-family: Times, 'Times New Roman', serif;"><img border="0" height="300" src="http://3.bp.blogspot.com/-36rWar1j_uA/UeQ3uNws0dI/AAAAAAAAAFI/pMUCS49LfIk/s400/DSCN2028.JPG" width="400" /></span></a></div>
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<h3>
<div style="text-align: justify;">
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Through
walking practices, one might even be “carried away” to the point </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">where the goer
(doer) passes completely into the going (doing). The </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">walker disappears—is gone, “oned”—with the unfolding or
ever-</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">proliferating walkway. During the course of a walk in which one is fully </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">present with the path being followed—the underlying earth, the ambient air, </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">the
shifting sounds, and emerging scents—one forgets and hence loses </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">one’s shallow
sense of “self,” which dissolves into the progressive movement.</span></span></div>
<div style="text-align: justify;">
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</h3>
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<span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<h3>
<span class="Apple-style-span" style="background-color: white; font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Dogen,
the 13<sup>th</sup> century Zen Buddhist, even goes as far as to speak of </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">mountains “constantly walking” in his sutras, opening up the possibility </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">that
nonhuman and inanimate entities exist, change and move (e.g., fall apart </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">or
relocate) in comparable manners to we humans. When we, in turn, walk like</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> a
mountain—ying-ing our yang, so to speak—we walk without walking. That </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is, we
move meditatively, with openness and without a trace of self-importance. </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">In this
way, walking grows into a robust trope and metaphor that bears, </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">transfers, and
carries practical thought, helping in the process to disclose </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and communicate
the surrounding world to us in its particularity and </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">beauty. Movement, in
short, generates meaning; it gives rise to spatial </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and temporal significance.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-weight: normal;"> </span></span></h3>
<div>
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif; font-weight: normal;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-SEyVzxL8-9o/UeQ4l0k-M4I/AAAAAAAAAFc/yOCLj93YBio/s1600/DSCN0331.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="background-color: lime; color: black; font-family: Times, 'Times New Roman', serif;"><img border="0" height="300" src="http://4.bp.blogspot.com/-SEyVzxL8-9o/UeQ4l0k-M4I/AAAAAAAAAFc/yOCLj93YBio/s400/DSCN0331.JPG" width="400" /></span></a></div>
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<span class="Apple-style-span" style="font-size: 19px; font-weight: bold;"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><br /></span></span></span></span>
<br />
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-size: 19px; font-weight: bold;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-size: small;">More
directly, there exists <i>kinhin </i>経行<i> </i>or walking </span></span></span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-size: 19px; font-weight: bold;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-size: small;">meditation, </span></span></span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-size: small;">a
Buddhist </span></span><span class="Apple-style-span" style="font-size: small;">practice that </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">occurs between periods of <i style="mso-bidi-font-style: normal;">zazen</i> </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">or seated meditation. </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">In </span><span class="Apple-style-span" style="font-size: small;">Japanese, <i style="mso-bidi-font-style: normal;">kinhin </i>is formed of </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">two </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">characters, one (経) that
means “classical </span><span class="Apple-style-span" style="font-size: small;">works” or “religious </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">teachings” </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">and the </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">other (行) that
means “walk”. During </span><span class="Apple-style-span" style="font-size: small;">this practice, </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">individuals </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">walk in
clockwise fashion </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">very slowly and </span><span class="Apple-style-span" style="font-size: small;">deliberately while </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">maintaining </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">their hands in
<i style="mso-bidi-font-style: normal;">shashu</i> (one hand held as a </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">fist </span><span class="Apple-style-span" style="font-size: small;">and
the other </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">covering </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">the fist). Movement typically commences with the </span><span class="Apple-style-span" style="font-size: small;">ringing of
a </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">bell </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">two </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">times (<i style="mso-bidi-font-style: normal;">kinhinsho)</i>. As one
proceeds, a step is taken after </span><span class="Apple-style-span" style="font-size: small;">each </span></span></h3>
<h3 style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">full </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">breath. </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: small;">The </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">walking ends when the
bell is rung once (<i style="mso-bidi-font-style: normal;">chukaisho</i>). </span></h3>
</div>
<div>
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></span></div>
<h3>
<span class="Apple-style-span" style="background-color: white; font-family: Times, 'Times New Roman', serif; font-size: small;">For those wishing to try it, here is a helpful video about <i>kinhin:</i></span></h3>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;"><i style="background-color: lime;"><br /></i></span></div>
<h3>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><b><a href="http://vimeo.com/41058322" style="background-color: white;">http://vimeo.com/41058322</a></b></span></h3>
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<br /></div>
<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">An aim of <i style="mso-bidi-font-style: normal;">kinhin</i> is to
improve mindful awareness of one’s actions </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and undertakings. Meditative walking
provides an appropriate means to </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">exercise or achieve such mindfulness because movement
on foot is so </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">habitual, ordinary, and routine to human experience. Walking
is commonly </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">an unconscious or pre-reflective activity, and to make it the
object of </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">conscious, deliberate and willful attention provides an opportunity
for insight </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and learning. One might conceivably even experiment
with this form </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">of ambulation in more exceptional conditions that pose greater
mental </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and physical challenges for maintaining focused concentration, such as
walking </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">in heavy rain, walking on ice, or walking with one’s eyes closed. I’ve
engaged </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">in <i style="mso-bidi-font-style: normal;">kinhin</i> on a number of
occasions and found it to be a constructive </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">counterbalance to protracted periods
of reflection in a seated position. </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">It also resonates with those persons who
enjoy bodily motion or who may </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">be unable or unwilling to sit for a lengthy
time.</span></span></h3>
<div>
<span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As Tich Nhat Hanh writes in <i style="mso-bidi-font-style: normal;">Resting in the River</i>, "Walking meditation means</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">to enjoy
walking without any intention to arrive. We don't need to </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">arrive anywhere. We just walk. We enjoy walking. That means walking </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">is already stopping, and that needs some training. Usually in our
daily life </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">we walk because we want to go somewhere. Walking is only a
means to an </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">end, and that is why we do not enjoy every step we take . . . So
this is a kind </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">of revolution in walking. You allow yourself to enjoy every
step you take.”</span></span></h3>
<div>
<span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-84P6d83CIhA/UeQ5Qq9CQvI/AAAAAAAAAFk/3wC0_P-HJFY/s1600/DSCN2129.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span class="Apple-style-span" style="background-color: lime; color: black; font-family: Times, 'Times New Roman', serif;"><img border="0" height="300" src="http://1.bp.blogspot.com/-84P6d83CIhA/UeQ5Qq9CQvI/AAAAAAAAAFk/3wC0_P-HJFY/s400/DSCN2129.JPG" width="400" /></span></a></div>
<div class="MsoNormal" style="margin-right: -.5in; text-align: justify;">
<span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif;"><br /></span></div>
<h3>
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">In the video below, a
monk walks serenely at a snail’s pace through the </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">crowded streets of an Asian
city.<span style="mso-spacerun: yes;"> </span>There is a hubbub of
activity all around him. </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">He lifts one foot and places it ever so slowly in
front of the other.<span style="mso-spacerun: yes;"> </span>He is ringing </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">a small bell.<span style="mso-spacerun: yes;"> </span>Our attention is
halted, arrested. Perhaps we are torn for a </span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: small;">moment from the frenzy of our own lives.<span style="mso-spacerun: yes;"> </span>Perhaps we slow down as well </span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">and move a
little more meditatively or mindfully.</span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">As a Chinese proverb puts it, “One step at a time is good walking.”</span></b></span></span></h3>
<div>
<span class="Apple-style-span" style="background-color: lime; font-family: Times, 'Times New Roman', serif; font-size: small;"><b><br /></b></span></div>
<h3>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><a href="http://www.youtube.com/watch?v=baKav_qlVT8" style="background-color: white;">http://www.youtube.com/watch?v=baKav_qlVT8</a></span></h3>
<div>
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;"><b style="background-color: lime;"><br /></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 0in; margin-right: -0.5in; margin-top: 0in; text-align: justify;">
<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="background-color: lime; font-size: 19px; font-weight: 800;"><br /></span></span></div>
<h3>
<span class="Apple-style-span" style="background-color: white; font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;"><u>Photos:</u> (i) Man walking in Khajuraho, </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;">India (ii) Walking path, Woodlands </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;">Cemetery in West Philly (iii) Hindu pilgrims in Benares (Varanasi), India (iv) </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;">Walking within a circle, St. Petersburg, Florida (v) Entering Jain temple, India</span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;">(vi) Animal tracks, Penn State Brandywine campus (vii) Woman carrying food, </span></span><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;">Delhi, India (viii) foot and footprint, Udaipur, India.</span></span></span></h3>
<div>
<span class="Apple-style-span" style="background-color: white; font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;"><br /></span></span></span></div>
<div>
<span class="Apple-style-span" style="background-color: white; font-size: small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-weight: 800;"><br /></span></span></span></div>
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<br /></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com1tag:blogger.com,1999:blog-6373941552963427464.post-79932408515335544942013-06-06T20:20:00.002-07:002013-08-19T22:49:04.363-07:00Music and Movement<!--[if gte mso 9]><xml>
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<br />
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";">Put some rhythm in your sidewalk stride:</span><span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;"> D | E F | G | A | B C |
D | E F | G | A | B C | D .</span></div>
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<span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;">There is music in your bodily movement.</span></div>
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<span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande';"><span class="Apple-style-span" style="font-size: 17px;"><br /></span></span></div>
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";">(Photo: Washington Square
Park, NYC)<o:p></o:p></span></div>
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-SeJHM8UT420/UbFRY8gvOwI/AAAAAAAAAEQ/3DX7lvC0bKU/s1600/303354_4033051474147_1949260902_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://2.bp.blogspot.com/-SeJHM8UT420/UbFRY8gvOwI/AAAAAAAAAEQ/3DX7lvC0bKU/s640/303354_4033051474147_1949260902_n.jpg" width="640" /></a></div>
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";"><br /></span></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-29114056399903818912013-06-06T20:05:00.000-07:002013-08-19T22:49:39.918-07:00Circling the stupa<!--[if gte mso 9]><xml>
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";">Today, I recalled a
Buddhist monk whom I watched in Sarnath, India—birthplace of this perennial philosophy—circling the oldest and one of the most famous stupas (</span><span class="Apple-style-span" style="font-family: sans-serif; font-size: 13px; line-height: 19px;">स्तूप),</span><span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;"> and earthen relics, on foot. I wondered if he has since paused the churning wheel of
time or stayed the cycling of <i style="mso-bidi-font-style: normal;">samsara </i>(</span><span class="Apple-style-span" style="color: #444444; font-family: arial, sans-serif; font-size: x-small; line-height: 16px;">संसार</span><span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;">) </span><span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;">to seize a fugitive moment of <i style="mso-bidi-font-style: normal;">satori </i>(</span><span class="Apple-style-span" style="color: #444444; font-family: arial, sans-serif; font-size: x-small; line-height: 16px;">संस्कृत</span><span class="Apple-style-span" style="color: #2b313c; font-family: 'Lucida Grande'; font-size: 17px;">), an "aha" or "eureka" in the otherwise grinding momentum of
the day. Perhaps that occurred when his sandal strap snapped or his belly
called out for a vegetable samosa. Who knows. Here he is in his elegant robe
and perfect posture. Be sure to greet him if he passes by your local 7/11 or Walmart or when you spot him walking along the highway. Chances are, though, that he might
be sporting longer hair, carrying a backpack, or bumming a few coins or a
smoke. Sages and monks and wise spirits seem to arrive in many guises.</span></div>
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<a href="http://4.bp.blogspot.com/-kxKRWs4Mjl8/UbFLwfGBJPI/AAAAAAAAAEA/hXWwarJM24o/s1600/578592_3832239533974_215940112_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="http://4.bp.blogspot.com/-kxKRWs4Mjl8/UbFLwfGBJPI/AAAAAAAAAEA/hXWwarJM24o/s640/578592_3832239533974_215940112_n.jpg" width="640" /></a></div>
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<span style="color: #2b313c; font-family: "Lucida Grande"; font-size: 13.0pt; mso-bidi-font-family: "Lucida Grande";"><br /></span></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-91848750780816428052010-08-11T13:50:00.000-07:002013-08-19T22:48:22.232-07:00Side-walking<a href="http://1.bp.blogspot.com/_h-mszIEVX5I/TGMOHcZew5I/AAAAAAAAACw/vV8JfF88U2Y/s1600/IMG_3706.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504258690621817746" src="http://1.bp.blogspot.com/_h-mszIEVX5I/TGMOHcZew5I/AAAAAAAAACw/vV8JfF88U2Y/s320/IMG_3706.JPG" style="cursor: hand; cursor: pointer; float: left; height: 240px; margin: 0 10px 10px 0; width: 320px;" /></a><br />
<div class="MsoNormal" style="line-height: 18.0pt; text-align: justify;">
<span style="font-family: Palatino;">Like all forms of travel and transit, walking involves a <i style="mso-bidi-font-style: normal;">methodos</i>, a way through the world and thus a choice of routes in the environment. There are classic distinctions that can be made in the basic elements of any town or city, and five in particular have been identified by urban thinkers and planners: paths, edges, districts, nodes and landmarks. Paths are channels along which people move, whether potentially, habitually or sporadically, and where they lack identity or are easily mistaken for one another, the entire image of a place can be called into question. Sidewalks are one of the most prevalent manifestations of the path.<span style="mso-spacerun: yes;"> </span>As the word itself suggests, <i style="mso-bidi-font-style: normal;">side-walks</i> are in one sense the exteriors and margins of the roads, the “suburbs” (so to speak) above-the-curbs of the streets.<span style="mso-spacerun: yes;"> </span>In another sense, they are the thresholds of storefronts, houses and parks that they ring, directing people to their destinations.</span></div>
<div class="MsoNormal" style="line-height: 18.0pt; text-align: justify;">
<span style="font-family: Palatino;">Sidewalks hold a vital place in our towns and cities, literally providing a platform for public life and an artery for regular citizen interaction.<span style="mso-spacerun: yes;"> </span>Their absence in many suburbs is a sign not only of the decline of walking but of the transformations that occur in <i style="mso-bidi-font-style: normal;">exurbia</i>, the domain outside the city landscape. Sidewalks, which are designated legally as public spaces, offer needed transitional realms between the intimacy of the home or the privacy afforded by the porch on the one hand and the frenzy of traffic or the anonymity of the streets on the other hand.</span></div>
<div class="MsoNormal" style="line-height: 18.0pt; text-align: justify;">
<span class="Apple-style-span" style="font-family: Palatino, serif;">Good sidewalks can be evaluated in terms of their integration into the communities of which</span></div>
<img alt="" border="0" id="BLOGGER_PHOTO_ID_5504259687311401330" src="http://1.bp.blogspot.com/_h-mszIEVX5I/TGMPBdWy4XI/AAAAAAAAAC4/X8P5ldA2gDs/s320/IMG_3096.JPG" style="cursor: pointer; float: right; height: 240px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; text-align: justify; width: 320px;" /><span class="Apple-style-span" style="line-height: 24px;"></span><br />
<div style="text-align: justify;">
<span class="Apple-style-span" style="line-height: 24px;"><span style="font-family: Palatino;">they are part. In fact, it is likely that the peace of a neighborhood is not kept primarily by the police or by local laws that might be promulgated and enforced. Rather, as urban critic Jane Jacobs has argued, it is maintained “by an intricate, almost unconscious, network of voluntary controls and standards among the people themselves [such that] a well-used city street is apt to be a safe street. A deserted street is apt to be unsafe.”</span> <span style="font-family: Palatino;"><span style="mso-spacerun: yes;"> </span>Following the work of urban sociologists and community planners, there seem to be a number of criteria that can be adduced and defended with regard to developing and maintaining places for walking.</span></span></div>
<br />
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Palatino, serif;"><span class="Apple-style-span" style="line-height: 24px;"><br /></span></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Palatino, serif; line-height: 24px;">First, sidewalks should be continuous and uninterrupted as far as this is possible in order to ensure the free movement of pedestrians. From the vantage point of local businesses, a regular pedestrian flow irrigates and nourishes the city and town centers and sites of enterprise. In Europe, a positive result of meeting this requirement is that “pedestrianized” areas frequently retain the strongest local economies.<span style="mso-spacerun: yes;"> </span>In this sense, it might said that where the sidewalk ends, so too ceases the community.</span></div>
<div>
<span class="Apple-style-span" style="font-family: Palatino, serif;"><span class="Apple-style-span" style="line-height: 24px;"> </span></span><br />
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<span class="Apple-style-span" style="font-family: Palatino, serif;"><span class="Apple-style-span" style="line-height: 24px;"><span style="font-family: Palatino;">Secondly, sidewalks need to be both clearly defined and safe from the threat of encroachment by cars and other vehicles, which must be repeatedly reminded that they share the world with walkers. According to federal sources, vehicle accidents involving pedestrians are twice as likely to occur in locations without sidewalks or appropriate pathways.</span></span></span></div>
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<span class="Apple-style-span" style="font-family: Palatino, serif;"><span class="Apple-style-span" style="line-height: 24px;"><span class="Apple-style-span" style="font-family: Georgia, serif; line-height: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504263244972224962" src="http://2.bp.blogspot.com/_h-mszIEVX5I/TGMSQirO8cI/AAAAAAAAADA/4aMN4JlqOTU/s320/IMG_2828.JPG" style="cursor: pointer; float: right; height: 240px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 320px;" /></span></span></span></div>
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<span style="font-family: Palatino;">Thirdly, sidewalks, moreover, must provide easy access to the destinations that pedestrians seek. The organization of walkways prior to an understanding of the places where people actually do walk or need to go can lead to problems. This dilemma is evident in parks, on college campuses and other urban locations where sidewalks are often set up in advance of walking patterns, creating a criss-crossing and forking system of used, semi-used and unused paths that can be visually objectionable and practically unmanageable. <o:p></o:p></span></div>
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<span style="font-family: Palatino;">Fourthly, sidewalks should have a rhythm that enhances, facilitates and encourages walking and that is related aesthetically to the landscape and surrounding objects and buildings. This requirement suggests that walking may possess a musical dimension</span> (more on this later)<span style="font-family: Palatino;"> that is both spatial and temporal, one that is orchestrated and “played” as one is drawn by the progression of organic and inorganic “notes,” architectural “scores” and visual “riffs” one encounters in the language of the landscape: the arrangement, repetition or syncopation of doors and fences, rows of trees and parking meters, clusters of benches, lines of windows, columns and telephone polls, planters and flower boxes, roof tops and even the regular cracks in the pavement.<span style="mso-spacerun: yes;"> </span>As we walk, we are propelled forward—as in a song—through expectation and anticipation and toward realization of another moment (place) that is intimately bound with and conveyed by preceding instants (locales).<span style="mso-spacerun: yes;"> </span></span></div>
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<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; font-family: Georgia, serif; line-height: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504266900521207346" src="http://4.bp.blogspot.com/_h-mszIEVX5I/TGMVlUqBxjI/AAAAAAAAADQ/ciNA7EDp9lQ/s320/IMG_3757.JPG" style="cursor: pointer; float: right; height: 240px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 320px;" /></span></div>
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<span style="font-family: Palatino;"><span style="mso-spacerun: yes;"></span>As urban theorist Mike Greenberg suggests,<span style="mso-spacerun: yes;"> </span>“If the stride, roughly twenty-five to thirty inches for most adults, is the basic pulse of the pedestrian’s encounter with the city—the beat of the music of the street—then it seems reasonable to propose that the next level of grouping might comprise events that occur at some small multiple of strides, two or three, or at most four.” To this advice we may add a complicating perceptual twist:<span style="mso-spacerun: yes;"> </span>“A real building is in a state of flux as the people who see and use it are themselves in motion. <span style="mso-spacerun: yes;"> </span>As one walks along the street, buildings advance and recede, blanch and blush, spin on their toes and play hide-and-seek, reveal their seductive ankles or their proud heads.” <o:p></o:p></span></div>
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<span style="font-family: Palatino;">Finally, sidewalks should be built to accommodate effectively the many necessary public objects that are part of daily urban and suburban life such as mailboxes, newspaper boxes, benches, utility poles and bus shelters. This demand, of course, seems to mean that sidewalks should generally be <i style="mso-bidi-font-style: normal;">wide-walks</i> (we might say) so that the walker is not further marginalized in the urban environment.</span></div>
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<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; font-family: Georgia, serif; line-height: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504264870370472130" src="http://1.bp.blogspot.com/_h-mszIEVX5I/TGMTvJwX8MI/AAAAAAAAADI/T1jTMz93hF4/s320/IMG_3861.JPG" style="cursor: pointer; float: right; height: 240px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 320px;" /></span></div>
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<span style="font-family: Palatino;">An MIT study—the first of its kind—in which researchers recorded the impressions and later tested the memories of twenty-seven people as they walked one by one around several blocks in Boston (along Boylston Street, through an alley, onto Newbury Street and into the Public Garden) provides some empirical information on the perceptions and attitudes of pedestrians in an urban environment. Spatial form—particularly spatially dominant buildings and open areas (such as a park)—is a major impression that registers on and remains with most pedestrians, followed by the quality and characteristics of the sidewalk or city “floor” and then the details or content of the fronts of stores.</span> (<span style="font-family: Palatino;">Few walkers commented on the sky, colors, wall materials and textures, upper floor fascades, overhead wires or doorways.)</span></div>
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<span class="Apple-style-span" style="-webkit-text-decorations-in-effect: underline; color: #0000ee; font-family: Georgia, serif; line-height: normal;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504267846285417266" src="http://1.bp.blogspot.com/_h-mszIEVX5I/TGMWcX5yWzI/AAAAAAAAADY/93dFLhS1Ozc/s320/IMG_3754.JPG" style="cursor: pointer; float: right; height: 240px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 320px;" /></span></div>
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<span style="font-family: Palatino;">The spaces best recalled by walkers seem to be those that are either defined clearly or that represent breaks in an overall continuity.<span style="mso-spacerun: yes;"> </span>Sixteen of the twenty-seven participants in the study remarked on the very accommodating width of the Boylston sidewalk, including its state of repair or occasional rough surfaces, which can jar one out of a regular rhythm. The experimental pedestrians were very conscious, too, of “visual clamor” and multiple street signs, and there was a widespread sense of the dramatic differences between the back alley occupations of seamstresses, for example, and the well-dressed shoppers on Newbury Street, indicating perhaps a sense of class distinctions that are visible in a short and relatively average urban walk. The walkers showed as well some awareness of and concern with the presence or relative absence of trees and revealed pleasurable feelings upon entering the green space of the Public Gardens (in contrast with a general distaste for the alley and an annoyance with auto traffic, though only once they had to cross it).<span style="mso-spacerun: yes;"> </span></span></div>
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More generally, the research indicates how walkers are constantly searching for or injecting order into their surroundings so as to make sense of their disparate impressions and to join their perceptions into a coherent picture.<span style="mso-spacerun: yes;"> </span>To this end, many walkers tend to divide a walk into distinct regions—in this study three in number—and whereas relative newcomers to an urban landscape are not able to discover between-spaces and places, the more experienced native is able to find similarities (though often imagined) between buildings, blocks, streets and neighborhoods.</div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Palatino;">More on sidewalks soon.<o:p></o:p></span></i></div>
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David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com5tag:blogger.com,1999:blog-6373941552963427464.post-22641448879890092942010-07-27T13:48:00.000-07:002013-08-19T22:50:37.318-07:00unfolding the phenomenon<a href="http://4.bp.blogspot.com/_h-mszIEVX5I/TE9HBXL5gDI/AAAAAAAAACY/699-56tDlIc/s1600/muybridge_ascending_stairs.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5498691758772027442" src="http://4.bp.blogspot.com/_h-mszIEVX5I/TE9HBXL5gDI/AAAAAAAAACY/699-56tDlIc/s320/muybridge_ascending_stairs.jpg" style="cursor: hand; cursor: pointer; float: left; height: 201px; margin: 0 10px 10px 0; width: 320px;" /></a><br />
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<b><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">What is it to walk?</span></span></b><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">This may be a sensible place to start.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">While I cannot undertake a detailed description (or close phenomenology) here, a few very general points can be made about the activity:</span></span></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(a) Walking involves lifting and propelling.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">The body is taken up and thrust forward by its own energy and ongoing momentum.</span></span></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(b) Walking entails rolling.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">From the heels to the ball and toes of the foot, sending us forward (bodily) but also backwards (to the heel) again. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">In fact, the word “walk” harks back in Old English to “wealcan,” to roll, and “wealcian,” to roll up.</span></span></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(c) Thus, there is a circularity at work in the walk.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">This aspect is one that we can grasp as well when pedaling a bicycle, an action that resembles ambulation in certain respects.</span></span></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(d) Walking involves carrying and self-conveyance. It is, in other words, a form of self-transport. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">Walking carries us to distant people and places, making them near. But we are also “carried away” in two other corporeal ways: first, by the sights, sounds and smells that we encounter and that direct us toward and through them. The elements in the atmosphere, for example, or the mood—as in the weather or a song—frequently bear and guide us. Secondly, we are carried by the places we walk and that hold us.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">We might note that the term “place” relates to “plat” (meaning broad or flat, as in “Plato,” who himself possessed broad shoulders and could certainly hold his own).</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">That is, we are supported by the paths, trails or markings we follow in the wild or the side-walks, alleys, and promenades we plod in the city.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></div>
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<o:p><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(e) Walking generates bodily rhythms and relies on repetition.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">As we shall see, this is a source of the musical aspects of the practice, too.</span></span></o:p></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(f) Walking can be described as re-frequented falling.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">We teeter or lurch forward and then catch and collect ourselves before losing complete balance. Watch toddlers and older folks when they walk.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">They are ever in danger of falling.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></div>
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<o:p><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(g) Through walking, we bring that which is far-away into the “near-sphere”.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">In other words, we take a “there” and bring it “here”.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">In the process, walking helps to constitute, connect and commemorate geographical places.</span></span></o:p></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">(h) There is often a precariousness and vulnerability to the act of walking.</span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">We are exposed not only to the elements and to sounds or sights around us but to vehicles and potentially other “predators”. </span></span><span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: 'times new roman';"><span class="Apple-style-span" style="font-size: medium;">More to follow . . .</span></span></div>
<!--EndFragment-->David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com4tag:blogger.com,1999:blog-6373941552963427464.post-66440533448757614942010-03-11T20:14:00.000-08:002013-08-19T22:51:19.372-07:00How walkable is your neighborhood?<a href="http://1.bp.blogspot.com/_h-mszIEVX5I/TE9NPNezTdI/AAAAAAAAACg/74UQA21_JVs/s1600/IMG_3323.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5498698593754893778" src="http://1.bp.blogspot.com/_h-mszIEVX5I/TE9NPNezTdI/AAAAAAAAACg/74UQA21_JVs/s320/IMG_3323.JPG" style="cursor: hand; cursor: pointer; display: block; height: 240px; margin: 0px auto 10px; text-align: center; width: 320px;" /></a><br />
Here is a simple way to find out how walkable your neighborhood or community might be.<br />
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Just type your address into walkscore.com and check out the results.</div>
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While there are some variables it doesn't (or can't) measure, it is a helpful tool if you are traveling somewhere new, looking to move, or just want to learn more about your immediate surroundings. Here is the web link:</div>
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<b style="mso-bidi-font-weight: normal;"><a href="http://www.walkscore.com/">http://www.walkscore.com/</a><o:p></o:p></b></div>
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<span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-weight: normal;">I hope to post more regularly, especially since I will be on sabbatical in the coming year and working on my book on walking.</span></span></div>
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David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com0tag:blogger.com,1999:blog-6373941552963427464.post-38134567940729853062009-02-15T19:35:00.000-08:002013-08-19T22:51:56.454-07:00First Steps . . .<a href="http://4.bp.blogspot.com/_h-mszIEVX5I/TE9Scsk8z_I/AAAAAAAAACo/cgRaBIFGw6c/s1600/IMG_2605.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="300" id="BLOGGER_PHOTO_ID_5498704322998620146" src="http://4.bp.blogspot.com/_h-mszIEVX5I/TE9Scsk8z_I/AAAAAAAAACo/cgRaBIFGw6c/s400/IMG_2605.JPG" style="display: block; height: 240px; margin-bottom: 10px; margin-left: auto; margin-right: auto; margin-top: 0px; text-align: center; width: 320px;" width="400" /></a><br />
Greetings.<br />
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This is a new blog on human ambulation—that is, walking.<br />
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I plan to explore this most ordinary but extremely revealing activity in relation to the physical landscape, aesthetics and art, politics, pedestrian practices, the wilderness, urban design, the body, environmental issues, philosophical thought and literature, among numerous other areas.<br />
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I hope to focus, too, on sauntering, strutting and strolling in Philadelphia, where presently I live. In the process, I would like to share some of my own stories and experiences from the world of walking. I love to walk and have published a few articles on the subject. I'm also currently writing a book on ambulation and motility, so it seemed like a natural progression to blog about it as well.<br />
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Entries will follow soon. Please stayed tuned. Thanks for checking in. And feel free to offer comments, suggestions and other feedback as the blog unfolds.David Macauleyhttp://www.blogger.com/profile/15371427242338190160noreply@blogger.com2