Debord and Asger Jorn’s collage “The Naked City” (1957) maps a stylish, capacious, and transgressive event-space. “From a dérive point of view,” Debord explains, “cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones” (62).
To map territories conducive to swerves, Situationist cartographers had to devise a form to capture the city’s psychological and social as well as spatial layout.

To make their map, Debord and Jorn used an x-acto knife to excise from two municipal tourist maps sections of Paris not yet ruined by capitalism and bureaucracy, set these sections into a swirl, and strike them through with arrows to mark junctions and transfer points—“slopes,” in Debord and Jorn’s terminology—into and out of zones conducive to the aleatory practice of the drift.





In this sense, their city plans are proleptic rather than descriptive.

Rather than simply displaying information, Situationists invite citizens to generate it for themselves by maximizing their experience of a dense and fluctuant space-time.


To create their zones of ontological anarchy, they remove the residue of capitalism and bureaucracy—the political, economic, and legal contexts of a rationalized Paris—in order to lure drifters, poets, and artists into the significant deviations and unforeseen combinations that might generate, in Jameson’s words, “a dialectical advance” or create, in Wark’s terms, “a relation out of infinite relationality” [008].

A hex map, hex board, or hex grid is a game board design commonly used in wargames of all scales. The map is subdivided into a hexagonal tiling, small regular hexagons of identical size

A Map of Athens (2017) - Learning from Documental workshop.

(non) map - Fluid Walkspaces: Corporate Imaginaries - print out

"The score functions like a time-chart upon which patterns and other events are organized within areas of duration.
“Pattern” stands for an independent system of either static or active events.
In the score, patterns are written mainly in synthetic notation. I have chosen this term because, in this type of notation, elements of notational material expressing components of the pattern are so assembled as to suggest the nature of the result as a whole;

Contrary to proportionate and metrical notation, synthetic notation does not mirror occurrences on a one-to-one basis....
....Synthetic notation creates a picture, as it were, whose visual impact is taken in immediately, as a whole, and not analytically in stages. For performance, these “pictures” must be unscrambled, decoded by reference to the prepared set of specifications.* These specifications provide the conductor with full explanations."

Jani Christou - Enantiodromia (1969)

It’s a map that reflects the remarkable history of charismatic women who have shaped New York City from the beginning,” wrote Solnit in an excerpt from the book published in the New Yorker. Those women have made their names in all number of ways, from singer and actress Jennifer Lopez and Supreme Court Justice Sonia Sotomayor, just three stops apart on the 6 line in the Bronx, to First Lady Eleanor Roosevelt (Union Square) and judge/tv personality Judy Sheindlin (Ocean Parkway).

Nonstop Metropolis is co-authored with Joshua Jelly-Schapiro, and artist Molly Roy served as the project’s lead cartographer. It’s the third, and likely final, book in Solnit’s atlas series, which uses imaginative maps to illustrate the culture, history, and economic realities of cities. The first two volumes are Infinite City: A San Francisco Atlas and Unfathomable City: A New Orleans Atlas.

Rebecca Solnit - City of Women, an all-female subway map where each stop recognizes an important woman New Yorkers.

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A map from Nonstop Metropolis: A New York City Atlas by Rebecca Solnit and Joshua Jelly-Schapiro. Courtesy of University of California Press.

Pauline Oliveros - Anthology of Texts Scores (2013)

In 1988, as a result of descending 14 feet into the Dan Harpole underground cistern in Port Townsend, Washington, to make a recording, Pauline Oliveros
coined the term



—a pun that has blossomed into "an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation. This aesthetic is designed to inspire both trained and untrained performers to practice the art of listening and responding to environmental conditions in solo and ensemble situations"

"deep listening"

Pauline Oliveros - Sonic Meditations (1974)

Trisha Brown - Roof Piece (1971)

A dance initiated by a single dancer on the roof of 420 West Broadway and transmitted downtown to other dancers for 15 minutes, whereupon it stopped and reversed direction for 15 minutes.

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Maryland mGeorge Alsop_A land-Skip of the Province of Mary land_1666_1869_in Gowan's Bibliotheca Americana_MSA SC

Pauline Oliveros - Rock Piece (1979)
Rock Piece ©2018 The Pauline Oliveros Trust
Rock Piece, typeset and letterpressed by Megan O’Connell of Salt & Cedar for Flint Magazine Issue 1+2.

Walking With Ice-cube

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Anna Halprin - Score for City Dance '78

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Anna Halprin - Score for Eating Ritual

Anna Halprin - Score for Procession

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Jani Christou - Enantiodromia (1969)

Fluid Walkscapes - Corporeal imaginaries stands as an invitation for a narrated sensorial walking experience and a world of imaginary realities, of physical objects and corporeal mappings.

Constituted of a soundwalk, a constellation of sculptural objects and a complementary publication, this project stems from Walking Club Rietveld’s What We Walk About When We Talk About Walking; a collective study on walking in the framework of Studium Generale Rietveld 2021.

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OR SCAN THE QR CODE TO ACCESS THE SOUND WALK

CLICK ON THE PDF TO DOWNLOAD THE FULL SCORE + TEXT

Lawrence Halprin on Design: RSVP Cycles

CLICK ON THE IMAGE TO LISTEN TO OUR SESSION: 17.10.2021

• Walks as CHAPTERS weaved together – Nancy’s walk weaved with Kaylie’s she-wolf soundwalk
Activating spaces - Activation through the stories of a space
• Becoming with the space - activation of space becomes your becoming
o Who brings the story as an activation?
• Speak from the space
o Speak from an entity in space - seeing through the eyes of something that moves through space
o Personifying the city
o Highlight the mundane – how to bring in personal perspective, habits, rituals, as mechanisms of not forgetting
• Entering and exiting space
• Time as a tool – duration - past present future. What time frame do we need,
• Soundwalk as a tool for diluted time and as a state of mind of embracing temporality of here and now.
• Entering and exiting a walk.
o When does the walk start and when does it end?
o Choreographing the mood for arriving – choreographing the mood for closing the session
o The walk at Werkspoor started with us leaving LOODS…. As a ritual of opening the zone to start the silent walk in Werkspoor – as landing.
o Choreography can be read as the landing ……Defining the starting and ending point of their propositions is of high importance
• Not about the ‘event’ per se, but also about what proceeds and what follows the ‘event’.
o How do you prepare the audience to enter your space? How to carry them?
• Silence as a mode of introspection and reading the landscape.
• Silence as ‘distancing from’ to enter an internal dialogue.
• Walking rhythms - how to sacrifice individual desires/projections in the collective and how do you find that individual in the collective?
o Building open ended instructions to facilitate a participatory event
o Instructions as notes to be interpreted – how to restrain interpretation if you so wish?
o Coming up with a scripted set of rules/protocols
• We invite you to make a score - proposition of a public participatory piece/ act it needs the be a movement through public space.
• The score is to be activated while at the same time existing in the realm of a document/documentation/invitation that stands also on its own.
• Think relation between map and score and vice versa.
• Utilize any medium & format you wish (photo collage, drawing, mapping, video, voice, sounds, combination of all etc.)
• We do not seek works of art – we seek manifestations of our study taking the form of a score as a proposal for a public participatory choreography.
• The work is in the labor put into distilling the research (empirical, theoretical) into a proposition – a well scripted call for a situation.
• Destabilizing what we already perceive as a comfortable method of translating research into a proposition
o Scripting - narrating – designing – choreographing
o scoring

25 Ways Of Walking - Mariska Gewald (2014) - extended...