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    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
    <link>https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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    <title>walkingwithwaterghosts.eu/ [ Curating Water Multiplicities: Walking with Water Ghosts in Post-Mining Landscapes ]</title>
    <dc:date>2026-06-30T04:16:27+00:00</dc:date>
    <link>https://walkingwithwaterghosts.eu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Project Introduction & Concept

Curating Water Multiplicities is a curatorial research project that understands the so-called “global water crisis” as a crisis of relationship, perception, and worlding practices. The project investigates which modes of knowing and governing water have shaped ecological disruption during decades of mining in North Rhine-Westfalia. By addressing epistemic and ontological conditions, the project opens space for rethinking how water is encountered, narrated, and related to. It is addressing water as multiple, relational, and temporally layered, shaping and being shaped by overlapping geological, industrial, ecological, and political processes.

The project is situated in the Rhenish lignite mining district, a landscape profoundly transformed by groundwater extraction, open-pit mining, and energy infrastructures. In this region, aquifers circulate through pipes, streams emerge out of power plants, and future lakes already structure the present through technocratic planning and speculative imaginaries. Within this context, Curating Water Multiplicities frames curating as a worlding practice (1). Curating is understood as the composition of situations in which heterogeneous water worldings—scientific, infrastructural, ecological, affective, and more-than-human—can encounter one another while remaining irreducible to a single explanatory frame.

(1) Worlding, following Vanessa Machado de Oliveira (2021) and Donna Haraway (2008), refers to the ontologically participatory process through which language and stories actively shape rather than merely describe reality. It denotes a material-semiotic practice of co-fabricating worlds in entangled, multispecies constellations, where worlds are continuously made-with rather than given or preexisting.

Theoretical Orientation:
Water, Multiplicity, and Hauntology

The project draws on posthumanist, hydrofeminist, anthropological and STS scholarship that approaches water as ontologically multiple. Water takes shape through divers practice: as hydrosocial relation, infrastructural flow, ecological habitat, chemical compound, affective presence, and historical remainder. Water is worlding worlds. These wordings coexist and interfere with one another, producing complex and sometimes contradictory water realities. As such water is never only water but emerges through material-discursive intra-actions (Barad 2017). 

Towards a Hydrofeminist Hauntology:
Water Ghosts

At the center of the project is the figuration of the water ghost. Water ghosts name waters whose temporalities have been interrupted by extractive processes. These vanished springs, displaced aquifer flows, infrastructural streams, and future lakes reorganize time and space and inhabit landscapes as unresolved pasts and uncertain futures, shaping perception and politics through their spectral presence.

Water ghosts bring attention to temporal disjunctions produced by extractivism. Deep-time aquifer waters circulate at industrial speeds; geological processes are reorganized according to the clock time of energy production; ecological consequences unfold across futures that exceed human planning horizons. These circulatory watery hauntings are approached as ethical and political invitations that call for response-ability toward water beyond technocratic management.
 
Methodological Approach:
Composite Curating & Walking-With

Methodologically, the project develops Composite Curating as a mode of research that combines curatorial practice with composite ethnography (Hetherington 2025). Knowledge emerges through constellations (von Bismarck 2021): temporary gatherings of heterogeneous actors, materials, practices, and more-than-human agencies that remain open, relational, and situated.

Walking plays a central role within this approach. Drawing on posthuman and feminist walking methodologies, walking-with (Sundberg 2014; Springgay/ Trumpman 2018) functions as a relational practice that attunes bodies to landscapes shaped by extraction, rupture, and infrastructural violence. Participants move through these environments as embodied actors within hydro-relational fields, cultivating attentiveness through shared movement. 

By walking with water ghosts, participants experienced how infrastructural narratives shape perception while marginalizing water’s temporal multiplicity and relational agency. The project demonstrates that other water worldings take form through practices that render uncertainty, loss, and more-than-human temporalities perceptible and discussable. Curating emerges here as a practice of holding open: sustaining epistemic openness, resisting technocratic closure, and cultivating response-ability toward waters that continue to haunt the present as well as future imaginaries.
 
Artistic activations

intertwined posthumanist phenomenological approaches
(after Astrida Neimanis 2017):

Body hermeneutics
beginning with one’s own watery embodiment
as a sensorium for ecological disturbance.

Proxy storytelling
stretching imagination, enabling absent, submerged,
or future waters to become narratable while retaining their complexity.

Altering tools of perception
such as microscopes, sound practices, and encounters
with infrastructure, which extend perception beyond human sensory limits.

Project Structure

The project unfolds in three interrelated phases.

Phase 1 – Composite Curating: Field Research
A collective, site-based research phase in which artists, researchers, and local actors explored the region’s hydrological “hot spots.” Walking, sensing, mapping, and conversation fostered attunement to water as a space-time knot shaped by extraction, governance, and contested futures.

Phase 2 – Walking-With: Public Water Walks
Two public walks translated the field research into shared experiential situations. Artistic activations, scientific insights, and embodied practices formed temporary constellations that rendered water ghosts perceptible as relational, affective, and political phenomena.

Phase 3 – Re-Assemblage as Exhibition (forthcoming)
In the final phase, the project’s multimodal outcomes are brought together, re-assembled, and made public as an exhibition. Re-Assemblage (Simon 2025) applied in the exhibition space functions as a collaborative analytical method that aims to rearrange material and knowledge in a  de-hierarchized way as display while allowing complexity, ambiguity, and multiplicity to remain visible. Rather than producing a coherent, linear narrative, Re-Assemblage integrates diverse voices, materials, and modalities, making the construction of knowledge itself perceptible and enabling reflection on the shared research process."]]></description>
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<item rdf:about="https://open-city.org.uk/events/moving1">
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    <dc:date>2026-06-29T05:45:55+00:00</dc:date>
    <link>https://open-city.org.uk/events/moving1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Open City for this site-sensing workshop — led by artist Alisa Oleva — where history and urban planning will be discovered through touch, listening and sensations 

By using elements of parkour and low impact movements participants of this workshop — which is open to movers and city explorers of all levels — will explore the architecture of social housing in north London including Highgate New Town designed by Hungarian architect Peter Tábori and Lismore Circus in Gospel Oak through deep listening, mapping and playing."]]></description>
<dc:subject>alisaoleva walking parkour 2021 art listening deeplistening mapping play petertábori lismorecircus sensing sensory walkshops situationist psychogeography</dc:subject>
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<item rdf:about="https://www.buildhollywood.co.uk/features/walk/">
    <title>WALK – monthly urban art walks with Alisa Oleva - BUILDHOLLYWOOD</title>
    <dc:date>2026-06-29T05:44:15+00:00</dc:date>
    <link>https://www.buildhollywood.co.uk/features/walk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A series of free monthly urban art walks over a period of one year.

As part of our latest Your Space Or Mine project, we appointed performance and walking artist Alisa Oleva as Artist in Residence, commissioned to work from BUILDHOLLYWOOD’s creative space, The CarWash, in Shoreditch.

“Each month I will host a walk which will start at The CarWash venue and then venture into the surrounding neighbourhood. Every walk will have a different theme, exploring the everyday, sensorial ways of engaging with the city, sounds, textures, memories and histories, emotional map-making, and the politics of public space” – Alisa Oleva.

Where does the city take you? Where do you turn next? Who walks these streets? What’s the sound of your own footsteps? Who owns the city? What’s here, and what do we wish was still here? Where do you find yourself now? These are the questions that Alisa explored on her experimental urban walks.

Over the past 12 months, Alisa’s walks have offered an act of collective close looking and reimagining – opening up spaces we don’t usually notice to make visible different ways of being in, and thinking about, the city.

To celebrate the end of our WALK series, we hosted a final Gathering event on the 20th July, which was an opportunity for past participants and for those who are curious to come together to celebrate over walking, sharing food, map making and conversations. The BUILDHOLLYWOOD CarWash has been the starting and finishing point of each event and we were excited to host the final Gathering at this space once again. "]]></description>
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<item rdf:about="https://akademija.whw.hr/fellows/alisa-oleva">
    <title>WHW Akademija - Alisa Oleva</title>
    <dc:date>2026-06-29T03:42:14+00:00</dc:date>
    <link>https://akademija.whw.hr/fellows/alisa-oleva</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alisa Oleva is a walking artist based in London. Her practice unfolds within the spaces and streets of the city, exploring the politics of public space, how the city moves and how we move it, urban choreography and urban archaeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. Her projects have taken the form of one-to-one and collective performances, walking scores, personal and intimate encounters, gatherings, parkour sessions, walkshops, soundwalks, and audiowalks.

Alisa holds a BA and MA from The Courtauld Institute of Art, London, and an MA in Performance from Goldsmiths, University of London. She is currently undertaking a fully funded practice-based PhD at the University of East London. She has worked with various places and communities, including Dnipro, Mariupol, Belgrade, Minsk, Berlin, Felixstowe, Leeds, Dudlange, La Sauvage, Brussels, Taoyuan, and others. In 2023, she was the recipient of an Another Route bursary and is currently leading a series of monthly art walks in East London, commissioned by BUILDHOLLYWOOD."

...

"Artist statement

Why walking? My impulse to walk stems from my experience of migration, which pushed me out of precarious housing conditions and led me to search for connection and a relationship with a new city through walking it. Over time, it developed into a walking art practice, in which I walk and invite others to walk with me, using walking as a methodology and practice to spark conversations, explore our connection to the everyday, question the politics of public space, and nurture a more sense of belonging and connection to land and place. 

I walk one-to-one with both strangers and friends. I also walk with big groups and small groups. I have organised various simultaneous walks across distances, across places, and across borders. 

Together with others who have also experienced migration, I explore how walking can become a way of home-finding - what routes we weave in our new homes, and what paths from our previous homes we carry with us. I also use counter-mapping as a way to walk the routes we remember but can no longer access.

I often walk at night, exploring the urban nightscape and how the city transforms in darkness. I’m interested in how the experience of walking at night differs for different bodies in different locations. 

In my work as a walking artist, walking is both the medium, the material, and the practice, while the streets, cities, parks, forests, and other kinds of places are both the site and my collaborators."]]></description>
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<item rdf:about="https://hyperallergic.com/alisa-oleva-walking-home-performistanbul/">
    <title>Walk With Me: A Performance Artist Adapts to the Pandemic</title>
    <dc:date>2026-06-29T03:41:03+00:00</dc:date>
    <link>https://hyperallergic.com/alisa-oleva-walking-home-performistanbul/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For two weeks last fall, performance artist Alisa Oleva walked with 33 different women in Istanbul; sometimes for 30 minutes, sometimes for three hours, but always from 1500 miles away."]]></description>
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<item rdf:about="https://journals.sagepub.com/doi/10.1177/13505068241262923">
    <title>Unveiling urban landscapes: Alisa Oleva’s performances during the pandemic - Raffaella Tartaglia, 2024</title>
    <dc:date>2026-06-29T03:40:03+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/10.1177/13505068241262923</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This text explores the evolving landscape of performance art in the face of pandemic restrictions, shedding light on the repercussions of audience deprivation and the subsequent exploration of digital platforms as a means of artistic expression. Focusing on some artistic performances of Alisa Oleva, the text investigates how her exploration of touching and walking as a medium influences the understanding of urban landscapes. By using the city as her studio and manipulating everyday life, Oleva uncovers the hidden stories and meanings embedded within inside and outside spaces, to examine questions related to women’s histories, traces, and surfaces. In particular, we focus on Walking Home (2020), a performance that, in addition to providing an interesting example of walking as an aesthetic practice, raises political and activist questions, such as how the pandemic-induced confinement masks deeper issues, namely the safety of the domestic environment for those who identify themself as women. Through various performances, we delve into the theme of seeing and touching, emphasising the significance of sensory perception as embodied human beings. Moreover, the text highlights how our passages and connections with different environments contribute to shaping the very meaning of the places we encounter in the world. In addition, the text acknowledges the transformative power of personal experiences in crafting the narrative of our collective story."]]></description>
<dc:subject>raffaellatartaglia alisaoleva seonsory walking seeing touching 2020 2024 everday situationist psychogeography art walkshops</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:228df78dfd78/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seonsory"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:touching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2020"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everday"/>
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</item>
<item rdf:about="https://compassliveart.org.uk/walk-me-there-a-round-up/">
    <title>Walk Me There - A Round Up - Compass Live Art / Compass Festival</title>
    <dc:date>2026-06-29T03:37:12+00:00</dc:date>
    <link>https://compassliveart.org.uk/walk-me-there-a-round-up/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over Alisa’s residency period in August, she went on one-to-one walks, hosted two group “walkshops” and created some beautiful memories with people living in Leeds: Anastasiia Abramchuk, Madda Moretti, Tatiana, Yuma, Haval, Maja Novak, coni, Mishka and Dasha."]]></description>
<dc:subject>alisaoleva walking situationist psychology walkshops place place-basedlearning art ephermal ephemerality ursulaleguin ursulakleguin leeds cities urban psychogeography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8c6af2a96c22/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=ljqTo7GC7HM">
    <title>Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging &amp; Nuart Aberdeen - YouTube</title>
    <dc:date>2026-06-29T03:15:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ljqTo7GC7HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"

[via:

"Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City"
https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/ ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:76ea0542a914/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gettinglost"/>
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</item>
<item rdf:about="https://alisaoleva.com/">
    <title>Alisa Oleva</title>
    <dc:date>2026-06-29T03:14:01+00:00</dc:date>
    <link>https://alisaoleva.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alisa Oleva is a walking artist based in London who works within the spaces and streets of the city, exploring the politics of public space, how the city moves us and how we move it, urban choreography and urban archaeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. She creates one-to-one and collective performances, walking scores, personal and intimate encounters, gatherings, soft parkour sessions, walkshops, soundwalks, and audiowalks.

Alisa holds a BA and MA from The Courtauld Institute of Art and an MA in Performance from Goldsmiths. She is currently doing a fully funded practice-based PhD at the University of East London."]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:1a04a8ae3314/</dc:identifier>
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<item rdf:about="https://www.walkinghome.online/">
    <title>Walking Home | Alisa Oleva</title>
    <dc:date>2026-06-29T03:13:38+00:00</dc:date>
    <link>https://www.walkinghome.online/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sanatçı | Artist Alisa Oleva
Invitation to “Walking Home” from Performistanbul"

...

"Alisa Oleva invites women of Istanbul to participate in her Performance!

The first residency programme of Performistanbul is brought to life! Alisa Oleva is the first artist nominated to the “Artistic Development Programme'' as part of Performistanbul’s artist residency focused on performance artists, the project is conducted with the support of British Council’s #WomenPowerinCulture Grant Scheme, in collaboration with Live Art Development Agency, (LADA, London). Alisa Oleva is a Russian artist living and working in London, presenting her performance Walking Home in two channels both in Istanbul and London. Oleva is searching for women* who self identify themselves as women participants to walk with her towards home. For walking “home” together with Oleva, the final participation date for applications is on the 25thof October 2020. 

At the performance entitled `Walking Home, while the participants will be walking towards the place where they describe as “home” in Istanbul, the artist will accompany each partner within one-to-one sessions from London by connecting via phones without the presence of an audience. In order to designate the starting point of the walking, a map that reads the city through the locations of historical and forensic figures, artefacts and events related to women will guide the participants. In these traces there are such as; the Sultanahmet Square in the remembrance of Halide Edip Adıvar’s  activist and political speech in 1919, Yıldız Park in memory of Gürdal Duyar’s sculpture that represents Istanbul in the form of a woman’s body,  Fındıklı park where Füsun Onur’s 50thyear sculpture that got removed by the city hall crew during the organisation as well as selected places such as Süreyya Opera. 

With the following questions; “If I ask you to walk me home, where would you take me? Does home mean feeling safe? What makes you feel like at home? Is it where you live now or a different place? Or is it not even a place? Now, it is time to walk and find home!", the artist is searching for the answer of what could be the meaning of the notion of “home”. She invites women* living in Istanbul to share her footsteps within that journey. The notion of “home”, that may refer to different meanings such as the nest, safe space, family, escape, indefensible area, self-reflection, is at the centre of the Walking Home performance. The artist will ask several questions to the participants in order to get a response to the meanings of “home”, as a result it could lead to various descriptions such as an actual home; a park, a seaside, a library or a place which reflects that feeling or a person and an object. On the other hand, her questions could also  remain unanswered...  

If you would like to apply to the open call in order to think about the concept of “home” collaboratively, please write to info@performistanbul.org until the 25thof October 2020, Sunday. While the open call continues, the performances will start on the 18thof October and last until the 31stof October. The timetable and all details will be shared with the participants via email and the times will be organised with the artist."

...

"Performistanbul’dan “Eve Yürüyüş” İçin Davet  
Alisa Oleva, İstanbul’daki kadınları Performansa Katılmaya Çağırıyor!

Performistanbul’un ilk misafir sanatçı programı hayata geçiyor! British Council’ın #KültürdeKadınGücü Destek Programı  sayesinde, Live Art Development Agency (LADA, Londra) ile iş birliği yaparak geliştirdiği, performans sanatçılarına özel “Sanatsal Gelişim Programı”na ilk seçilen sanatçı Alisa Oleva oldu. Rus asıllı Londra merkezli performans sanatçısı Alisa Oleva, Eve Yürüyüş (Walking Home) adlı projesini İstanbul ve Londra olmak üzere iki ayaklı olarak sunuyor. Oleva, kendisiyle birlikte yürüyecek İstanbul’daki kadın* ve kendini kadın olarak tanımlayan katılımcıları arıyor. Oleva ile “ev”e doğru yürümek için gerçekleştirilen açık çağrıya son katılım tarihi 25 Ekim 2020.

Birebir yapılacak yürüyüşlerde, katılımcılar İstanbul’da “ev” olarak tanımladıkları yere doğru yürürken, sanatçı Oleva’nın da Londra’dan eşlik edeceği Eve Yürüyüş adlı performansta, aralarındaki bağı telefonları sağlayacak ve süreçler izleyicisiz olarak gerçekleşecek. Kadınların şehre bıraktığı izler üzerinden belirlenen başlangıç noktalarını seçerken, katılımcıya, kadın(lar)la ilgili tarihi ve önemli şahıslar, olaylar, yapıtlar üzerinden şehrin okumasının yapıldığı bir harita kılavuzluk edecek. Bu izler arasında, Halide Edip Adıvar’ın 1919 yılında yaptığı aktivist ve politik bir konuşma anısına Fatih’teki Sultanahmet Meydanı, Gürdal  Duyar’ın İstanbul’u kadın bedeniyle temsil ettiği heykeli anısına Yıldız Parkı, Füsun Onur’un belediye ekipleri tarafından park düzenlemesi sırasında kaldırılan 50. yıl heykeli anısına Fındıklı Parkı ve Süreyya Operası gibi yer ve mekânlar bulunuyor. Süreç dâhilinde her katılımcı, kendi hikâyelerinden bir parkur oluşturarak, bu haritanın bir parçası olarak ortak yaratıcılarından birine dönüşecek. Açık çağrı bir seçim olmadan, çağrıya yanıt veren herkesi kapsayacak ve performans gece veya gündüz fark etmeksizin karşılıklı belirlenen başlangıç noktası ve süresi çerçevesinde hayata geçecek.

Sanatçı “Benimle eve yürümeni istesem, beni nereye götürürdün? Ev, güvende hissetmekle aynı anlamı taşır mı? Sana ev hissini ne verir? Bu yaşadığın yer mi yoksa başka bir yer midir? Bu belki bir yer bile değildir? Şimdi yürümenin ve evi bulmanın zamanı!” sözleriyle “ev” kavramının ne anlama geldiği sorusunun cevaplarını arıyor. İstanbul’da yaşayan kadınları* eve giden yolda, adımlarını paylaşmaya çağırıyor. Yuva, güvenli bölge, aile, kaçış, savunmasız alan, öze dönüş gibi kişi için pek çok tanımı çağrıştırabilecek “ev” kavramı, Eve Yürüyüş adlı performansın merkezini oluşturuyor. Katılımcılara, “ev” kavramını tanımlamak için çeşitli sorular yönlendirecek olan sanatçı, herhangi bir ev tarifi yanıtı alabileceği gibi bir park, deniz kenarı, kütüphane veya bu hissi taşıyan herhangi bir yer, kişi veya nesne gibi pek çok karşılık da bulabilir. Yanıtsız da kalabilir...

Siz de açık çağrıya katılmak ve “ev” kavramını beraber düşünüp sorgulamak için 25 Ekim 2020 Pazar gününe kadar info@performistanbul.org adresine yazabilirsiniz. Açık çağrı devam ederken, 18 Ekim’den itibaren başlayacak performanslar 31 Ekim tarihine kadar devam edecek. Zamanı  sanatçıyla beraber kararlaştırılacak performans ile ilgili detaylı bilgiler başvuran katılımcılarla mail aracılığıyla paylaşılacak."]]></description>
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<item rdf:about="https://www.fetch.london/post/walking-is-so-simple-yet-so-deeply-complex-in-conversation-with-with-alisa-oleva">
    <title>&quot;WALKING IS SO SIMPLE YET SO DEEPLY COMPLEX&quot;: IN CONVERSATION WITH ALISA OLEVA</title>
    <dc:date>2026-06-29T03:13:26+00:00</dc:date>
    <link>https://www.fetch.london/post/walking-is-so-simple-yet-so-deeply-complex-in-conversation-with-with-alisa-oleva</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 walking alisaoleva psychogeography art performance situationist listenting senses sensory transience ephemeral ephemerality documentation movement parkour community everyday audio resistance productivity london walkshops</dc:subject>
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<item rdf:about="https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/">
    <title>Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City</title>
    <dc:date>2026-06-29T02:53:49+00:00</dc:date>
    <link>https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[embedded video:

"Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging & Nuart Aberdeen"
https://www.youtube.com/watch?v=ljqTo7GC7HM 

"Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"]]]></description>
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<item rdf:about="https://www.chroniclebooks.com/products/on-doing-nothing">
    <title>On Doing Nothing: Finding Inspiration in Idleness, by Roman Muradov (2018) | Chronicle Books</title>
    <dc:date>2026-06-27T23:13:55+00:00</dc:date>
    <link>https://www.chroniclebooks.com/products/on-doing-nothing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an age of obsessive productivity and stress, this illustrated ode to idleness invites readers to explore the pleasures and possibilities of slowing down. Beloved author and illustrator Roman Muradov weaves together the words and stories of artists, writers, philosophers, and eccentrics who have pursued inspiration by doing less. He reveals that doing nothing is both easily achievable and absolutely essential to leading an enjoyable and creative life. Cultivating idleness can be as simple as taking a long walk without a destination or embracing chance in the creative process. Peppered with playful illustrations, this handsome volume is a refreshing and thought-provoking read."

...

"Roman Muradov is an award-winning author and artist, and a professor at California College of the Arts in San Francisco."

[via:
https://www.scopeofwork.net/an-incomplete-accounting-of-what-im-reading/

quoting:

"Artistic delay is resisting the impulse to explore an idea fully at its birth, instead allowing it to live for a while in the greenhouse of the mind, where it may mature and corrupt, grow into something new, or die and fertilize the soil."]]]></description>
<dc:subject>idleness romanmuradov slow productivity optimization philosophy art writing eccentrics creativity walking</dc:subject>
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<item rdf:about="https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/">
    <title>Vincent Catala's Situationist Drift in Brazil — Blind Magazine</title>
    <dc:date>2026-06-27T05:58:22+00:00</dc:date>
    <link>https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Charleroi, the photographer is showing “Île Brésil,” the fruit of ten years spent wandering on foot, by bus and by motorbike through the outskirts of the country’s three great cities: São Paulo, Rio, and Brasília. A drift, in the sense Guy Debord gave that word: a voluntary surrender to the pull of the terrain."]]></description>
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<item rdf:about="https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker">
    <title>The Wounded Walker | Commonweal Magazine</title>
    <dc:date>2026-06-25T21:14:53+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michel de Certeau’s search for the murmuring of the mystical in secular society"

...

"The Czech poet and painter Josef Čapek, who was killed in Bergen-Belsen in 1945, described himself as a limping pilgrim “hobbling through the Gateway to Eternity.” Certeau—and Fern in Nomadland—could be described the same way. In his biography of Certeau, Françoise Dosse calls him “le marcheur blessé,” “the wounded walker.” 

Part of Certeau’s attraction to the Society of Jesus was that he wanted to be a missionary. He did travel widely, but his real wayfaring ended up being internal—an inner movement that could not be stilled or staunched. For Certeau, the transience of desire, including his own, cannot be pinned down but only attested to. We can only trace it in and through its various inscriptions and behaviors. The city may be mapped and its entrances and exits prescribed, but it can be walked in a million different ways. In his numerous and multifaceted investigations, Certeau traces the murmuring of a desire that no secularism can conceal or abrogate. This is the spiritual vision in his work that roamed and transgressed across anthropology, theology, history, sociology, psychoanalysis, ethnography, and what is now known as cultural studies.  

One can understand why Catholic theologians have paid him little attention. Though he wrote about the Church, the Eucharist, and even Christ, he had little interest in dogmatics, philosophical theology, moral theology, or ecclesiology. And his writing style can be forbidding, as we have seen. But beyond its eclecticism and difficulty, Certeau’s work may have been avoided by theologians because of a critical question it raises: To what extent are their theologies themselves “sociocultural productions” reacting to, rather than excavating, secularism? Certeau wants to ask of theology not whether its critique of secularism is right or wrong, but what fears and desires it is itself expressing.

Certeau invented interdisciplinary study before it was fashionable or even had a name. He recognized that the truly big questions—like what makes a belief believable or why one would believe anything—cannot be answered by any one intellectual discipline, including theology, with its siloed modes of inquiry and strictly policed faculty boundaries. And yet such questions tap into the very roots of any religious faith. Certeau was likely not surprised at theologians’ neglect of his work. He would have known from his reading of the mystics that the Church is always wary of lived experience and religious enthusiasm uncontainable by its boundaries."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=VWRBGZsUP2Q">
    <title>Il &quot;Buddha vivente&quot;: &quot;La fatica ci rende migliori&quot; - YouTube</title>
    <dc:date>2026-06-20T08:57:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VWRBGZsUP2Q</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Il 19 giugno è la Giornata Mondiale della Passeggiata (World Sauntering Day) che ci ricorda di rallentare il ritmo frenetico della vita quotidiana, promuovendo il camminare lento e rilassato, per godersi il momento. In occasione di questa giornata Riccardo Haupt, Ceo di Chora & Will Media, intervista il maestro Ryōjun Shionuma, monaco buddhista e unico uomo dell’era moderna

a completare il Sennichi Kaihōgyō (sette anni per completare un percorso di 48 chilometri al giorno per un totale di 40.000 km), guadagnandosi il soprannome di «Buddha vivente». Ryōjun Shionuma ha pubblicato di recente il saggio L’arte di sorridere in salita, a cura di Costanza Rizzacasa d’Orsogna, edito da Vallardi."]]></description>
<dc:subject>buddhism walking riccardohaupt 2026 ryōjunshionuma everyday slow</dc:subject>
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<item rdf:about="https://www.thisiscolossal.com/2026/06/big-walk-video-game-house-house/">
    <title>'Big Walk' Is a New Video Game about ... Walking and Talking — Colossal</title>
    <dc:date>2026-06-13T08:58:02+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/06/big-walk-video-game-house-house/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the ever-expanding pantheon of open-world video games where combat, survival, crafting, and anarchy reign, the simple idea of taking a virtual walk while chatting with a few friends might seem pointless. A new video game from Melbourne-based developer House House begs to differ, though, turning a casual stroll across dreamy landscapes into a uniquely collaborative game, where puzzles and the lengths required to solve them take center stage. Some areas of Big Walk render players speechless, forcing you to devise innovative ways to communicate. It might just be the antithesis of Fortnite or Grand Theft Auto.

This friendly, casual, and playful approach to game design may come as no surprise from the makers of the critically acclaimed Untitled Goose Game, which is centered entirely on a hapless goose that navigates everyday environments while avoiding the unwanted attention of nearby humans. “As much as Big Walk is a game about walking and talking, it’s also about exploring, and getting lost, and doing challenges, and sometimes, not really doing anything at all,” shares a game trailer.

You can play this “cooperative online walker-talker” on Steam, Switch 2, and PlayStation 5 beginning August 4."

[direct link to trailer release date announcement video:
https://www.youtube.com/watch?v=c_uvpWSlBV0 ]]]></description>
<dc:subject>videogames cooperation cooperativegames games gaming panic househouse 2026 walking openworlds landscape bigwalk</dc:subject>
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<item rdf:about="https://podcasts.apple.com/it/podcast/paulo-nazareth-kabila-kyowa-stephane-on-walking/id1798973926?i=1000767135818&amp;l=en-GB">
    <title>Paulo Nazareth &amp; Stéphane Kabila Kyowa on Walking – Space Between – Apple Podcasts</title>
    <dc:date>2026-06-12T21:51:04+00:00</dc:date>
    <link>https://podcasts.apple.com/it/podcast/paulo-nazareth-kabila-kyowa-stephane-on-walking/id1798973926?i=1000767135818&amp;l=en-GB</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, we pair artist Paulo Nazareth with curator Kabila Kyowa Stéphane to explore walking as both an ancestral practice and a political act, tracing questions of mobility, borders, and belonging. Paulo Nazareth is an artist whose work engages deeply with colonial histories through movement, land, and memory. Kabila Kyowa Stéphane is an artist and thinker whose practice reflects on the politics of access, restriction, and human experience across borders."

[https://www.koozarch.com/podcasts/space-between-podcast ]]]></description>
<dc:subject>walking paulonazareth resistance movement belonging boders memory 2026 kabilakyowastéphane access restriction humanexperience mobility borders land memeory indigeneity indigenous practice politics art</dc:subject>
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<item rdf:about="https://www.plough.com/en/topics/culture/poetry/wendell-berrys-wisdom-for-living-in-time">
    <title>Wendell Berry’s Wisdom for Living in Time by Anne Ryan</title>
    <dc:date>2026-05-29T22:37:59+00:00</dc:date>
    <link>https://www.plough.com/en/topics/culture/poetry/wendell-berrys-wisdom-for-living-in-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Each Sunday for decades, Wendell Berry has taken a walk around his Kentucky farm and often written a poem."

[also here:
https://www.plough.com/articles/wendell-berrys-wisdom-for-living-in-time ]]]></description>
<dc:subject>wendellberry anneryan 2026 kentucky walking poetry writing howwewrite time nature slow small temporality charlestaylor</dc:subject>
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<item rdf:about="https://time.com/article/2026/05/05/walking-mistakes-how-to-fix/">
    <title>10 Walking Mistakes You’re Probably Making—and How to Fix Them</title>
    <dc:date>2026-05-07T06:06:14+00:00</dc:date>
    <link>https://time.com/article/2026/05/05/walking-mistakes-how-to-fix/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Thinking walking “doesn’t count” 

...

2. Walking too slowly

...

3. Holding your phone while you walk 

...

4. Leaning forward from the torso

Watch yourself walk, and you might notice your upper body drifting slightly ahead of your lower body—head and shoulders leading the way, torso angled forward. It’s an extremely common pattern, and biomechanist Katy Bowman, author of Rethink Your Position, says we have our chairs to blame. Hours of sitting tighten the front of the hips and round the upper back, and that shape doesn’t disappear the moment you stand up.

“You have some of that chair baggage that’s staying with you,” Bowman says. She compares it to semi-permanent hair dye: “It takes a while to get that out of your body.”

Walking with a forward lean creates a cascade of problems. It shifts pressure to the front of the foot, which can aggravate toe pain and change how you move forward. “A lot of people will describe walking as controlled falling,” Bowman says. “But mechanically, that’s not what we want. That’s an indication of not-great balance, and actually not working as much muscle as you could be.”

To recalibrate, Bowman recommends a quick reset before you head out: “Go to a wall and put your butt against it, and try to bring your head and shoulders against that wall,” she advises. “Feel what upright really feels like, and then try to walk from that position.” Keep checking in on your form throughout your walk, she adds, since chair posture has a way of creeping back.

...

5. Not pushing off with your glutes

Once you’re standing tall, the next question is how you’re actually propelling yourself forward. Most people, Bowman says, aren’t really pushing off at all—they’re falling and catching themselves with the next step. The fix is to think like you’re rowing a boat.

“If you imagine sitting in a rowboat and needing to move forward, the way you move your boat forward is by pushing your oar backwards,” she says. Walking works the same way. “Stand up and push one foot down into the ground, and let the other foot lift off. Now you’re standing on one foot, and that foot that’s on the ground is the oar. It has to push back, and it pushes back with a glute contraction.”

Her shorthand for the cue: “Put your walk behind you.”

The payoff goes well beyond posture. Falling into each step delivers a hard landing on the feet and knees and bypasses the body’s largest muscles entirely. Pushing off engages the glutes, which Bowman says stabilizes the lower back and “takes the load off the knees.” Over time, that translates to less wear on vulnerable joints and more strength in the muscles built to do the work.

...

6. Letting your arms hang (or clasping them behind your back)

...

7. Not picking up your feet

Some of us have walking styles that announce themselves from a room away—think sole-scraping or heel-dragging. That noise is a clue that something in your gait isn’t doing its job, Bowman says.

“In shuffling, the foot just sort of lands as a single unit,” she says. “Or sometimes it doesn’t even leave the ground at all.” A normal walking stride moves through the foot in stages—heel strike, foot flat, roll forward, toe-off. When that sequence flattens into a single thud, your tripping risk increases, and your muscles and joints don’t absorb impact as efficiently—potentially leading to strain in the ankles, knees, and hips.

The encouraging news, Bowman says, is that most shuffling is fixable with targeted exercises that build hip strength and ankle mobility.

...

8. Wearing the wrong shoes

There’s more to figuring out which walking shoes are right for you than debating which brand’s logo you like best. McDowell points to a 2018 study finding that more than 60% of adults wear shoes that are the wrong size, often because they assumed their feet stopped changing the day they stopped growing taller. “That’s a huge misconception,” she says.

Sizing across brands isn’t standardized either. “It’s very common to be a 10 in a Nike, a 10.5 in an Adidas, a 43 in a Birkenstock,” McDowell says. The fix: Have your feet measured professionally once a year, or print a free foot-measurement chart at home and check your size yourself. Wearing shoes that are too small can contribute to bunions, hammertoes, heel pain, and stress fractures over time, she says. Shoes that are too big create their own problem: Your toes have to claw to keep the shoe on, and a foot that's sliding around inside the shoe can become a fall risk.

The more counterintuitive issue is cushioning. The thick, pillowy, elevated-heel running shoes that dominate today’s market may feel comfortable, McDowell says, but they’re doing too much of the foot’s job. “Essentially, people’s feet are getting weaker and stiffer in those over-engineered shoes,” she says. Her preference: shoes with a wide toe box, a low heel-to-toe drop, and less cushion, which force the foot’s own muscles to do the work they evolved to do.

Whatever you’re wearing, replace it before it falls apart. Sabgir says most walking shoes are good for around 300 to 400 miles, “and a lot of us, myself included, let our shoes go too long.” That can cascade into foot, knee, and back problems. To check your current pair, flip them over: a healthy wear pattern looks roughly like the number 7—starting on the outside of the heel and angling toward the big toe. 

Wear concentrated on the inside edge can signal over-pronation, in which the foot rolls inward too far and stresses the knees, hips, and lower back. Wear all along the outside edge can point to supination, where a too-rigid foot fails to absorb shock and can drive stress fractures or joint pain. And if your right and left shoes look meaningfully different, your gait may be compensating for an old injury or muscular imbalance worth flagging to a physical therapist. 

...

9. Ignoring your toes

It sounds absurd, but the strength of your big toe may be one of the better predictors of whether you’ll fall as you age. Research has linked weaker big-toe flexion strength—your ability to press the toe firmly into the ground—to poorer balance and higher fall risk. “It’s not all the toes,” McDowell says. “It’s just the big toe.” The toe is also responsible for propulsion, the final push that drives each step forward.

Two at-home tests can tell you a lot. The first is what McDowell calls toe yoga: Sit barefoot in a chair, lift just your big toe while the other four stay flat on the floor, and then reverse it—big toe down, little toes up. “Most people can’t do that,” she says.

The second is a credit-card test. Slide a card under your big toe, have a friend try to pull it out, and see if you can press down hard enough to keep it in place. Strength on the right may not match the left, McDowell says—old ankle sprains, fractures, or numbness can all leave their fingerprint there. The good news is that both deficits respond quickly to practice, like doing toe yoga at your desk during the work day. “It’s so encouraging because even practicing for a week, people start to notice a difference,” she says.

...

10. Always walking the same route at the same speed on flat ground"
]]></description>
<dc:subject>walking agelahaupt 2026 health posture</dc:subject>
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<item rdf:about="https://www.vox.com/future-perfect/486864/pedestrian-deaths-decrease-walking-car-safety">
    <title>Why pedestrian deaths are falling in the US — and why walking is still so dangerous | Vox</title>
    <dc:date>2026-04-29T05:23:26+00:00</dc:date>
    <link>https://www.vox.com/future-perfect/486864/pedestrian-deaths-decrease-walking-car-safety</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One reason cars kill so many people in the US is because we drive so much. Large steel boxes traveling at 50 miles per hour are inherently dangerous, and when we build a transportation system that prioritizes the rapid movement of cars and marginalizes other forms of getting around, we should not be surprised when the results are very deadly. But during the pandemic, something unexpected happened: total driving across the country dipped, but we saw a spike in crash deaths. Overall car fatalities increased by 7 percent in 2020 and another 11 percent in 2021, and pedestrian deaths similarly shot up.

The most widely accepted theory for why this happened is that in normal periods, routine traffic congestion slows cars down. But without road congestion during Covid, it suddenly became possible for drivers to go really fast and cause more fatal crashes — a shift that was enabled by the very design of roads in the US. That emptier roads so easily turned into deadlier ones displayed some of the fundamental flaws in the American approach to transportation: The same fatality spikes generally didn’t happen in peer countries, which had been prioritizing road safety in the decades prior, particularly the safety of people outside cars, and took steps to slow traffic on their roads because speed is the central variable that makes crashes deadly. They lowered speed limits and, to ensure the new speed limits were actually followed, embraced traffic calming measures like narrower roads to make speeding physically infeasible.

In the 2010s, many US cities took up Vision Zero, a campaign to eliminate traffic deaths that was originally conceived in Europe in the 1990s. It rejects the premise that deaths by car cannot be avoided, and emphasizes designing transportation systems where people don’t encounter conditions in which someone’s split-second mistake can easily turn fatal. But Vision Zero’s implementation has largely been regarded as a failure in America, in part because it is so hard to get the public to accept changes to road design that inconvenience cars. Traffic enforcement cameras also make a significant difference in deterring speeding in countries where they’re widely implemented, but in the US, they’re culturally anathema and in some places are even banned at the state level."]]></description>
<dc:subject>us walking policy urban urbanism pedestrians safety comparison 2026 pandemic covid-19 coronavirus visionzero waymo cities urbanplanning trafficcalming marinabolotnikova</dc:subject>
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<item rdf:about="https://www.motherjones.com/environment/2024/12/car-free-disability-congestion-walkable-cities/">
    <title>Do Car-Free Zones Hurt Disabled People? We Asked Experts. – Mother Jones</title>
    <dc:date>2026-04-29T05:21:15+00:00</dc:date>
    <link>https://www.motherjones.com/environment/2024/12/car-free-disability-congestion-walkable-cities/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["City planners and advocates are seeing “accessibility used as a political football.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=TsWl3yD3JQc">
    <title>Walking a classic London novel - Virginia Woolf’s Mrs Dalloway (4K) - YouTube</title>
    <dc:date>2026-04-22T05:09:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TsWl3yD3JQc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the great London novels, Mrs Dalloway by Virginia Woolf was published a hundred years ago in May. Written between 1922-24, Mrs Dalloway is not only a classic London novel but also a great book of walking London and an exploration of the power of place. The book is set over a single day in June 1923, so I set out on 14th June following a walking route from the Virginia Woolf society's website https://virginiawoolfsociety.org.uk/resources/a-mrs-dalloway-walk-in-london/

The walk starts in Dean's Yard Westminster, goes along Great College Street, over Victoria Street, across St. James's Park to Piccadilly where Mrs Dalloway looks in the window of Hatchards bookshop. In Old Bond Street she buys flowers and her path crosses that of Septimus Smith and his wife Lucretia. We retraces their walks over Oxford Street to Harley Street and then to Regent's Park where the walk ends.

Related video: The Hidden Passages of St James's
https://www.youtube.com/watch?v=K2mwDRh0Jqo "]]></description>
<dc:subject>johnrogers virginiawoolf 2026 1930 london walking westminsterabbey</dc:subject>
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<item rdf:about="https://yalereview.org/article/street-haunting-a-london-adventure">
    <title>The Yale Review | Virginia Woolf: “Street Haunting: A London Adventure”</title>
    <dc:date>2026-04-22T04:57:55+00:00</dc:date>
    <link>https://yalereview.org/article/street-haunting-a-london-adventure</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>virginiawoolf london walking</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:3f23affef610/</dc:identifier>
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    <title>‘Space is weird…’: contemplative-drifting with student archives as place-based-pedagogy: Research in Drama Education: The Journal of Applied Theatre and Performance: Vol 30 , No 4 - Get Access</title>
    <dc:date>2026-04-14T04:54:12+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Homecoming(s) Project explores a university campus and archives through the application of a hybrid walking-methodology. Having previously applied Nicolás Núñez's contemplative tools alongside solo dérive-inspired practices, the author invites a team of undergraduate researchers to explore the practices’ potential pedagogical applications. Student reflections attest to a re-grounding of experience, learning and research in a dynamic ethic of reciprocity. With these reflections in mind, the article discusses the opportunities for contemplative-critical walking to generatively disrupt the logics of the western archive and one's assumptions of relationship to place. The improvisatory approach of the project provides an embodied and reflective framework which reveals the potential incommensurability between Eurocentric walking-methodologies which foreground reciprocity and their application as tools towards redressing ones’ colonial inheritances."]]></description>
<dc:subject>stevedonnelly 2026 place-basedlearning pedagogy walking derive dérive situationist psychogeography methodology place nicolásnúñez anthropocosmic improvisation decolonization colonialism colonization west archives learning howwelearn reciprocity contemplation reflection place-basededucation land-basedlearning land-basededucation</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=brrGT5kIhqY">
    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=KPUlgSRn6e0">
    <title>The Gym of Life - YouTube</title>
    <dc:date>2026-03-29T21:46:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=KPUlgSRn6e0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Credits, References, and Additional Information

The part of "My Brother" was played by my brother.

Large-scale physical activity data reveal worldwide activity inequality
Nature, 10 July 2017
https://www.nature.com/nature/articles
https://cs.stanford.edu/people/jure/pubs/activity-inequality-nature17.pdf

COUNTRY COMPARISON :: OBESITY - ADULT PREVALENCE RATE
CIA World Fact Book
https://www.cia.gov/stories/story/spotlighting-the-world-factbook-as-we-bid-a-fond-farewell/
https://en.wikipedia.org/wiki/List_of_countries_by_obesity_rate

For this video, "Developed Country" was considered any country with a Human Development Index over 0.9:
https://en.wikipedia.org/wiki/List_of_countries_by_Human_Development_Index

What can we learn from the COVID-19 pandemic about how people experience working from home and commuting?
University of Amsterdam Centre for Urban Studies
https://urbanstudies.uva.nl/content/blog-series/covid-19-pandemic-working-from-home-and-commuting.html

People are missing their daily commute in lockdown – here’s why
https://theconversation.com/people-are-missing-their-daily-commute-in-lockdown-heres-why-142863

Walking and cycling to work makes commuters happier and more productive
https://theconversation.com/walking-and-cycling-to-work-makes-commuters-happier-and-more-productive-117819

Global views on sports: 58% globally would like to practice more
https://www.ipsos.com/en/global-views-to-sports-2021

Do the Health Benefits of Cycling Outweigh the Risks?
Epidemiology, January 2011
https://journals.lww.com/epidem/Fulltext/2011/01001/Do_the_Health_Benefits_of_Cycling_Outweigh_the.205.aspx
https://ehp.niehs.nih.gov/doi/pdf/10.1289/ehp.0901747 "]]></description>
<dc:subject>bikes biking walking cities exercise living urbanism urban health mobility transit transportation notjustbikes 2022 walkability us canadan australia newzealand europe amsterdam commuting mentalhealth anxiety cars time energy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9cb529547873/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=umgi-CbaSRU">
    <title>Every Reason to Hate Cars - YouTube</title>
    <dc:date>2026-03-29T20:17:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=umgi-CbaSRU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These Stupid Trucks are Literally Killing Us
https://www.youtube.com/watch?v=jN7mSXMruEo

What is the "Correct" Speed Limit?
https://www.youtube.com/watch?v=JRbnBc-97Ps

Crossing the Street Shouldn't Be Deadly (but it is)
https://www.youtube.com/watch?v=_ByEBjf9ktY  

How to (Quickly) Build a Cycling City - Paris
https://www.youtube.com/watch?v=sI-1YNAmWlk

Cities Aren't Loud: Cars Are Loud
https://www.youtube.com/watch?v=CTV-wwszGw8

I'm so Sick of this Lazy Excuse for Bad Cities (Weather)
https://www.youtube.com/watch?v=BXDP9WQe0io 

The Gym of Life
https://www.youtube.com/watch?v=KPUlgSRn6e0

Would You Fall for It? [ST08]
https://www.youtube.com/watch?v=n94-_yE4IeU

Why We Won't Raise Our Kids in Suburbia
https://www.youtube.com/watch?v=oHlpmxLTxpw

Strong Towns Playlist
https://www.youtube.com/playlist?list=PLJp5q-R0lZ0_FCUbeVWK6OGLN69ehUTVa

Suburbia is Subsidized: Here's the Math [ST07]
https://www.youtube.com/watch?v=7Nw6qyyrTeI

America Always Gets This Wrong (when building transit)
https://www.youtube.com/watch?v=MnyeRlMsTgI

These Ugly Big Box Stores are Literally Bankrupting Cities
https://www.youtube.com/watch?v=r7-e_yhEzIw

Parking Laws Are Strangling America | Climate Town
https://www.youtube.com/watch?v=OUNXFHpUhu8 

City Beautiful
https://nebula.tv/citybeautiful
https://www.youtube.com/channel/UCGc8ZVCsrR3dAuhvUbkbToQ

Ray Delahanty | CityNerd
https://nebula.tv/citynerd
https://www.youtube.com/channel/UCfgtNfWCtsLKutY-BHzIb9Q  

---
References & Further Reading

Car harm: A global review of automobility's harm to people and the environment
https://www.sciencedirect.com/science/article/pii/S0966692324000267
https://doi.org/10.1016/j.jtrangeo.20...

Crash Not Accident
https://crashnotaccident.com/

Life After Cars Book, from the War on Cars Podcast
https://www.lifeaftercars.com/

Segregation by Design
https://www.segregationbydesign.com/

Rave DJ mixes available at djnumbernine.com

The number of references far exceeds the maximum length that YouTube allows in descriptions, but you can access the full list of references on Nebula or at this link:
https://notjustbikes.com/references/carharm.txt

This video uses stock footage from Getty Images and other licensed sources.
No generative AI or AI voices were used in the making of this video

Script by Nicole Conlan and Jason Slaughter
Thanks to Simon Clark, Henry (The Closer Look), münecat, and Ray Delahanty (CityNerd) for voicing quotes.

---
Chapters
0:00 Intro
1:38 Car Harm
3:00 Vehicular violence
6:23 Air pollution
8:25 Other pollutants and tyres
11:21 Noise & light pollution
13:08 Climate change
14:10 Sedentary lifestyle & isolation
16:10 Motonormativity
17:12 Advertising and propaganda
19:04 Disproportionate harm
20:15 Children
23:15 People with disabilities
24:39 Low-income households
27:58 The costs of automobility
30:19 Parking
32:19 Housing
33:05 Infrastructure costs
36:18 Land use and habitat destruction
38:20 Small businesses and retail
39:21 Everyone hates cars
41:02 Reducing car harm
42:25 People want fewer cars
43:59 Concluding thoughts
46:17 Nebula & Day Pass"]]></description>
<dc:subject>cars notjustbikes 2026 cities urban urbanism violence safety propaganda advertising children disabilities motornormativity parking housing disability lifestyle isolation climate climatechange globalwarming pollution noise lightpollution noisepollution airpollution bikes biking pedestrians walking suburbia suburbs</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=c0zhhTZw0MI">
    <title>Excursiones a pie - Robert Louis Stevenson | Audiolibro voz humana - YouTube</title>
    <dc:date>2026-03-26T06:26:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=c0zhhTZw0MI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["¿Hace cuánto que no salís a caminar porque sí? Sin destino y sin razón, la mente también se atreve a divagar. Todo está bien cuando no hay control propio (¡la cabeza!) ni externo (¡el reloj!) parece decirnos el escritor estadounidense en este ensayo publicado por Atávica editorial en 2025.
Elegí grabárselos como una manera de invitarlos a levantar la vista y salir al mundo para disfrutar el paso a paso. Después me cuentan."]]></description>
<dc:subject>ceciliabona robertlouisstevenson walking 2026 audiobooks wandering</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6ba0f24e4de4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audiobooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
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</item>
<item rdf:about="https://www.bloomberg.com/graphics/2026-paris-transformed-hidalgo/">
    <title>This Paris Tour Reveals How Hidalgo Made City Greener, More Car-Free</title>
    <dc:date>2026-03-22T17:47:28+00:00</dc:date>
    <link>https://www.bloomberg.com/graphics/2026-paris-transformed-hidalgo/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>paris cars bikes biking cities green environment urbanism mariepatino fearguso'sullivan tomfévrier 2026 policy walking pedestrians safety sustainability annehidalgo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8a3294e8de22/</dc:identifier>
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</item>
<item rdf:about="https://www.upress.umn.edu/9781517916459/reclaiming-the-road/">
    <title>Reclaiming the Road: Mobility Justice beyond Complete Streets, by David L Prytherch (2025)</title>
    <dc:date>2026-03-22T01:46:49+00:00</dc:date>
    <link>https://www.upress.umn.edu/9781517916459/reclaiming-the-road/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining equitable streets for all

For the past century, our roadways have been engineered as pipes for cars, but they offer vast potential as public spaces. From New York and Boston to Portland and Los Angeles, cities are rethinking their streets, going beyond sidewalks and bike lanes to welcome nonmotorists to share the asphalt roadway. Reclaiming the Road traces the historical evolution of America’s streets and explores contemporary movements to retake them from cars—temporarily and permanently—for diverse forms of mobility and community life. To share the street raises important questions of equity, in transportation and beyond. David L. Prytherch proposes a bold, intersectional vision of a more just street.

Reclaiming the Road connects cutting-edge theory, policy analysis, and firsthand accounts from those leading the charge in transforming our streets to advocate for changing how we think about and design roads. Prytherch features case studies of nine major cities in the United States to show how experiments in reclaiming streets accelerated during the Covid-19 pandemic to become lasting changes. Through in-depth interviews, he shares stories of how planners, transportation advocates, and community leaders have implemented innovative programs for slowing neighborhood streets, opening roads for walking and biking, and reconstructing roadways with public parklets and street plazas as social spaces for curbside conversation.

Examining movements to transform streets through the lenses of equity and justice, Reclaiming the Road tackles the conceptual challenge of defining mobility justice and the practicalities of planning a more just public street, offering a compelling vision for the future of America’s public spaces."]]></description>
<dc:subject>cities streets cars mobility mobilityjustice justice 2025 roadways walking bikes biking pedestrians safety politics policy equity access accessibility transportation transit davidprytherch community urbanplanning urbanism urban covid-19 pandemic coronavirus us parklets socialspace planning sidewalks bikelanes nyc bodton losangeles portland oregon via:javierarbona</dc:subject>
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</item>
<item rdf:about="https://xkcd.com/2832/">
    <title>xkcd: Urban Planning Opinion Progression</title>
    <dc:date>2026-03-20T04:30:25+00:00</dc:date>
    <link>https://xkcd.com/2832/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>xkcd comics cars bikes biking urbanplanning cities safety transit transportation pedestrians walking traffic</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.nybooks.com/articles/2010/03/11/in-love-with-trains/">
    <title>In Love with Trains | Tony Judt | The New York Review of Books</title>
    <dc:date>2026-03-19T07:01:07+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2010/03/11/in-love-with-trains/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Bring Back the Rails!"
https://www.nybooks.com/articles/2011/01/13/bring-back-rails/
https://archive.is/B21jx ]

"According to the literary theorist René Girard, we come to yearn for and eventually love those who are loved by others. I cannot confirm this from personal experience—I have a history of frustrated longings for objects and women who were palpably unavailable to me but of no particular interest to anyone else. But there is one sphere of my life in which, implausibly, Girard’s theory of mimetic desire could be perfectly adapted to my experience: if by “mimetic” we mean mutuality and symmetry, rather than mimicry and contestation, I can vouch for the credibility of his proposition. I love trains, and they have always loved me back.

What does it mean to be loved by a train? Love, it seems to me, is that condition in which one is most contentedly oneself. If this sounds paradoxical, remember Rilke’s admonition: love consists in leaving the loved one space to be themselves while providing the security within which that self may flourish. As a child, I always felt uneasy and a little constrained around people, my family in particular. Solitude was bliss, but not easily obtained. Being always felt stressful—wherever I was there was something to do, someone to please, a duty to be completed, a role inadequately fulfilled: something amiss. Becoming, on the other hand, was relief. I was never so happy as when I was going somewhere on my own, and the longer it took to get there, the better. Walking was pleasurable, cycling enjoyable, bus journeys fun. But the train was very heaven.

I never bothered to explain this to parents or friends, and was thus constrained to feign objectives: places I wanted to visit, people I wanted to see, things I needed to do. Lies, all of it. In those days a child could safely travel on public transport alone from seven years old or so, and I took solitary tube trips around London from a very young age. If I had a goal it was to cover the whole network, from terminus to terminus, an aspiration I came very close to achieving. What did I do when I reached the end of a line, Edgware as it might be, or Ongar? I stepped out, studied the station rather closely, glanced around me, bought a dessicated London Transport sandwich and a Tizer…and took the next tube back.

The technology, architecture, and working practices of a railway system fascinated me from the outset—I can describe even today the peculiarities of the separate London Underground lines and their station layouts, the heritage of different private companies in their early years. But I was never a “trainspotter.” Even when I graduated to solitary travel on the extensive network of British Railways’ Southern Region I never joined the enthusiastic bands of anorak-clad preteenage boys at the end of platforms, assiduously noting down the numbers of the passing trains. This seemed to me the most asinine of static pursuits—the point of a train was to get on it.

The Southern Region in those days offered rich pickings for the lone traveler. I would park my bike in the luggage wagon at Norbiton Station on the Waterloo line, ride the suburban electric train out into rural Hampshire, descend at some little country halt on the slopes of the Downs, cycle leisurely eastward until I reached the westerly edge of the old London to Brighton Railway, then hop the local into Victoria as far as Clapham Junction. There I had the luxuriant choice of some nineteen platforms—this was, after all, the largest rail junction in the world—and would entertain myself with the choices from which to select my train back home. The whole exercise would last a long summer day; when I got home, tired and contented, my parents would inquire politely as to where I had been and I would dutifully invent some worthy purpose to obviate further discussion. My train trips were private and I wanted to keep them that way.

In the Fifties, train travel was cheap—especially for twelve-year-old boys. I paid for my pleasures from weekly pocket money and still had pennies left over for snacks. The most expensive trip I ever took got me nearly to Dover—Folkestone Central, actually—from where I could look longingly across at the well-remembered rapides of the French national network. More typically, I would save spare cash for the Movietone News Theatre at Waterloo Station: London’s largest terminus and a cornucopia of engines, timetables, newsstands, announcements, and smells. In later years, I would occasionally miss the last regular train home and sit for hours into the night in Waterloo’s drafty waiting halls, listening to the shunting of diesels and the loading of mail, sustained by a single cup of British Rail cocoa and the romance of solitude. God knows what my parents thought I was doing, adrift in London at 2 AM. If they had known, they might have been even more worried.

I was a little too young to capture the thrills of the steam age. The British rail network switched all too soon into diesels (but not electric, a strategic mistake for which it is still paying) and although the great long-distance expresses still swept through Clapham Junction in my early school years, pulled by magnificent late-generation steam engines, most of the trains I took were thoroughly “modern.” Nevertheless, thanks to the chronic underinvestment of Britain’s nationalized railways, much of the rolling stock dated from interwar years and some of it was pre-1914 vintage. There were separate closed compartments (including one in each four-car unit set aside for “Ladies”), no toilets, and windows held up by leather straps with holes into which a hook in the door was inserted. The seats, even in second- and third-class, were upholstered in a vaguely tartan fabric that irritated the naked thighs of shorts-clad schoolboys but that was comfortingly warm in the damp, chilly winters of those years.

That I should have experienced trains as solitude is of course a paradox. They are, in the French phrase, transports en commun: designed from the early-nineteenth-century outset to provide collective travel for persons unable to afford private transportation or, over the years, for the better-heeled who could be attracted to luxurious shared accommodations at a higher price. The railways effectively invented social classes in their modern form, by naming and classifying different levels of comfort, facility, and service: as any early illustration can reveal, trains were for many decades crowded and uncomfortable except for those fortunate enough to travel first-class. But by my time second-class was more than acceptable to the respectable middling sort; and in England such persons keep themselves to themselves. In those blissful days before mobile phones, when it was still unacceptable to play a transistor radio in a public place (and the authority of the train conductor sufficed to repress rebellious spirits), the train was a fine and silent place.

In later years, as Britain’s rail system fell into decline, train travel at home lost some of its appeal. The privatization of the companies, the commercial exploitation of the stations, and the diminished commitment of the staff all contributed to my disenchantment—and the experience of travel by train in the US was hardly calculated to restore one’s memories or enthusiasms. Meanwhile the publicly owned state railways of continental Europe entered a halcyon era of investment and technical innovation, while largely preserving the distinctive qualities inherited from earlier networks and systems.

Thus to travel in Switzerland is to understand the ways in which efficiency and tradition can seamlessly blend to social advantage. Paris’s Gare de l’Est or Milano Centrale, no less than Zurich’s Hauptbahnhof and Budapest’s Keleti Pályaudvar, stand as monuments to nineteenth-century town planning and functional architecture: compare the long-term prospects of New York’s inglorious Pennsylvania Station—or virtually any modern airport. At their best—from St. Pancras to Berlin’s remarkable new central station—railway stations are the very incarnation of modern life, which is why they last so long and still perform so very well the tasks for which they were first designed. As I think back on it—toutes proportions gardées— Waterloo did for me what country churches and Baroque cathedrals did for so many poets and artists: it inspired me. And why not? Were not the great glass-and-metal Victorian stations the cathedrals of the age?

I had long planned to write about trains. I suppose in a way I have already done so, at least in part. If there is something distinctive about my version of contemporary European history in Postwar, it is—I believe—the subliminal emphasis on space: a sense of regions, distances, differences, and contrasts within the limited frame of one small subcontinent. I think I came to that sense of space by staring aimlessly out of train windows and inspecting rather more closely the contrasting sights and sounds of the stations where I alighted. My Europe is measured in train time. The easiest way for me to “think” Austria or Belgium is by meandering around the Westbahnhof or the Gare du Midi and reflecting on the experience, not to mention the distances between. This is certainly not the only way to come to grips with a society and a culture, but it works for me.

Perhaps the most dispiriting consequence of my present disease—more depressing even than its practical, daily manifestations—is the awareness that I shall never again ride the rails. This knowledge weighs on me like a leaden blanket, pressing me ever deeper into that gloom-laden sense of an ending that marks the truly terminal disease: the understanding that some things will never be. This absence is more than just the loss of a pleasure, the deprivation of freedom, much less the exclusion of new experiences. Remembering Rilke, it constitutes the very loss of myself—or at least, that better part of myself that most readily found contentment and peace. No more Waterloo, no more rural country halts, no more solitude: no more becoming, just interminable being."

[archived:
https://archive.is/OM330 ]]]></description>
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<item rdf:about="https://sfstandard.com/2026/03/17/sf-pedestrian-deaths-vision-zero/">
    <title>SF’s streets might be getting safer — unless you’re walking</title>
    <dc:date>2026-03-17T15:29:12+00:00</dc:date>
    <link>https://sfstandard.com/2026/03/17/sf-pedestrian-deaths-vision-zero/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["San Francisco leads the nation in one grim traffic statistic: the share of fatal crashes that kill pedestrians."]]></description>
<dc:subject>walking pedestrians cars safety sanfrancisco 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://sfstandard.com/2026/03/14/toddler-s-death-shook-now-s-walking-50-miles-sf-safer-streets/">
    <title>A toddler’s death shook him. Now he’s walking 50 miles around SF for safer streets</title>
    <dc:date>2026-03-16T00:17:37+00:00</dc:date>
    <link>https://sfstandard.com/2026/03/14/toddler-s-death-shook-now-s-walking-50-miles-sf-safer-streets/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A dad says city leaders have talked about fixing dangerous streets for years. He wants to make them actually do it."

...

"What brought you out here today?

One of our favorite things about living in San Francisco is that you really don’t need a car. We walk everywhere, we take public transit. I’m out with my son all the time. A couple weeks ago I read about that little two-year-old girl killed crossing the street in Mission Bay with her mom. I just couldn’t shake it. I kept thinking about all the times I’ve been out walking with my son — cars come flying around corners, things happen so fast. When you’re out walking, you don’t have any power over it.

And then I started getting really frustrated.  Our city leadership talks about making streets safer for pedestrians, but they haven’t really implemented the changes they said they would. We know that slowing cars down makes a difference. We know more visible crosswalks make a difference. Mayor Lurie passed his Safe Streets initiative (opens in new tab) back in December — that was supposed to address some of this — but there’s just been no action yet. So I thought, maybe if I get out here and walk 50 miles, people will ask why some of our leaders can’t just put pen to paper and get this done.

Why do you think San Francisco remains so car-dependent, even with decent transit and walkable neighborhoods?

Cars and pedestrians are always going to coexist here. But we can do things like slow cars down, or not let them turn right while a crosswalk is active. That all adds up. Long-term, there’s just so much money in politics — car lobbies, driver lobbies — and there’s no money in people just walking around with their families. So time passes and nothing really changes. And it’s a dense city — second densest in the country after New York — so there are a lot of people out there, and a lot of potential for accidents.

When people say pedestrians share some of the blame — jaywalking, not paying attention — what do you think?

You have to take that argument all the way. Are blind people not supposed to be able to cross the street? They can’t see the traffic coming — the traffic has to be aware of them. If you’re in a car, you have more responsibility. Full stop."

...

"What does that worry actually look like day to day?

We’re super cautious — always paying attention, making eye contact with drivers before we step into a crosswalk. And I still don’t have enough fingers to count the number of times a car has come flying around a corner or run a red light and just barely missed us. Then you see people in the comments online saying, “Well, if the pedestrians had been more careful.” It’s not about that. Pedestrians are already afraid. It’s drivers who have the power.

What do you think about when you’re out walking on your own?

Sometimes music, I try to be present as much as possible. I love this city — there’s no place like it in the world. I find it a little ironic that the poorest neighborhoods tend to have the worst pedestrian infrastructure, and they’re also the places where I see the most people outside, in community, talking to their neighbors. Every part of San Francisco is worth knowing.

Do you have a favorite underrated spot to walk around in the city?

Candlestick Point — the rec area at the very tip of the city. It’s beautiful, and you can walk around the ruins of the old stadium. Nobody’s ever down there. Quiet, a little eerie, great for a picnic. And then all the way at the other end of the city, Lands End — everyone knows that one, but there are corners even there that most people walk right past."

...

"What’s your general philosophy on life?

I believe in being as prepared and informed as possible — especially with a kid and a family. But the bigger thing that’s changed for me is just being present. If I’m with my son, I’m with my son. I’m not on my phone. If I’m at work, I’m at work. Since I stopped splitting my attention between everything at once and just gave things their proper time, a lot has unlocked.

What do you have to look forward to in the future?

Spending as much time with my kid as possible. Watching him grow into his own person. I always say — I’m raising a human, not a mirror. If he’s into what I’m into, great. If he’s got his own thing, that’s great too. I just want to encourage him to be his own man."]]></description>
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<item rdf:about="https://nextcity.org/features/take-a-walk-around-the-block-with-me">
    <title>Take a Walk Around the Block With Me</title>
    <dc:date>2026-03-13T22:51:44+00:00</dc:date>
    <link>https://nextcity.org/features/take-a-walk-around-the-block-with-me</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["After two decades of neighborhood walks with residents, Gabrielle Bendiner-Viani’s new book, “The Cities We Need,” shows the vital everyday labor between people and places that makes community possible."]]></description>
<dc:subject>walking everyday cities communities community 2026 gabriellebendiner-viani labor work place placemaking</dc:subject>
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<item rdf:about="https://pablohelguera.substack.com/p/excerpts-from-halsted-street">
    <title>Excerpts from &quot;Halsted Street&quot; - Beautiful Eccentrics</title>
    <dc:date>2026-02-28T01:31:00+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/excerpts-from-halsted-street</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cities are writing systems.

As we walk through the city, we read it, but the city also inscribes itself onto us: its distances, its temperatures, its light, its repetitions—until we begin to carry its logic in our body.

This process is experienced intensely. At first, the city feels illegible. One moves incorrectly. One arrives too early or too late. The body is out of sync. Discomfort persists. But alongside that discomfort, something else begins to emerge: a dialogue.

The city envelops us, making us unsettled, then it begins to recognize us. We become a line in the city’s text—not erased, not resolved, but integrated. The city spells us out, even as we continue to stumble through its sentences.

As children, some of us had the palm of our hand read by classmates. Improvised experts. They would point to a line and announce, with unnecessary authority, that it meant something dire. A broken line. A short life. The line splits, then reappears—sometimes as two, sometimes as three. However, a line that breaks and continues does not signify an ending. It does not mean one life shortened. It means several lives unfolding simultaneously.

In the city, we live this condition constantly. There are multiple versions of ourselves moving through the same streets at the same time. Different interests. Different desires. Different affiliations. Slightly deviant versions of a unified self, occupying the same body.

As each section unfolds, each self writes the city differently. And in return, the city spells each of them out—sometimes clearly, sometimes reluctantly, sometimes all at once."]]></description>
<dc:subject>pablohelguera cities walking howweread reading 2026</dc:subject>
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<item rdf:about="http://thelrm.org/">
    <title>The LRM - The Loiterers Resistance Movement</title>
    <dc:date>2026-02-27T07:06:38+00:00</dc:date>
    <link>http://thelrm.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The LRM (Loiterers Resistance Movement) is a Manchester based not-for-profit collective of artists, activists and urban wanderers  interested in psychogeography, public space and the hidden stories of the city.

We can’t agree on what psychogeography means but we all like plants growing out of the side of buildings, looking at things from new angles, radical history, drinking tea and getting lost; having fun and feeling like a tourist in your home town. Gentrification, advertising and blandness make us sad. We believe there is magick in the mancunian rain.

Our city is wonderful and made for more than shopping. The streets belong to everyone and we want to reclaim them for play and revolutionary fun….

The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, uncover hidden histories and discover the extraordinary in the mundane. We aim to nurture an awareness of everyday space, (re)engaging with, (re)mapping and (re)enchanting the city.

On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. These range from giant cake maps to games of  CCTV Bingo. Information on forthcoming events is here. We were founded in 2006 by Morag Rose and 2016 we celebrated 10 years of creative mischief with Loitering With Intent: The Art and Politics of Walking at The Peoples History Museum. 

Please walk with us, everyone is welcome. Our events are free and open to all: these are our streets and they are yours too. 

If you have any questions or comments, or have any access needs to discuss (we will do our best to meet them) you can contact us at

Email mlrose@thelrm.or

Comment on the Facebook group the loiterers resistance movement

We hope to see you playing out with us soon xx"]]></description>
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<item rdf:about="https://carnegieart.org/resource/raymond-saunders/">
    <title>Raymond Saunders — Carnegie Museum of Art</title>
    <dc:date>2026-02-26T06:21:21+00:00</dc:date>
    <link>https://carnegieart.org/resource/raymond-saunders/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This curatorial essay originally appeared in an in-gallery pamphlet published on the occasion of Raymond Saunders, a 1996 exhibition at Carnegie Museum of Art organized as part of the Forum Series."

...

"Raymond Saunders
By Richard Armstrong

The recent work by Raymond Saunders on view here includes some of the artist’s largest and most symbol-filled paintings to date. Saunders’s images are both invented and appropriated. Further, he often joins fragments of his handwriting with found texts. In combining the private and public imagery, he invites us to see differently—more allusively and with a greater sense of wonder. As viewers, we are caught up in his associative monologue, with its autobiographical elements as touchstones. An obvious example here is Joseph Fitzpatrick Was Our Teacher (1991), the artist’s homage to the longtime art instructor at the Carnegie.

[image: "Installation view of Raymond Saunders, 1996, Carnegie Museum of Art"]

Saunders was born and raised in Pittsburgh’s Hill District; through his work he gives voice to recent African-American history. His “black paintings,” begun twenty years ago, are, in fact, black backgrounds on which he paints, writes, and adheres objects in an evolving process that fuses particular cultural and racial memories to wider artistic ones. Saunders is a visual historian, recording and recreating his impressions of places and events ranging from his Pittsburgh childhood in the 1930s and 1940s to the present. He attended SoHo Elementary School, where his prodigious talent as an artist was evident at an early age. He went on to Fifth Avenue High School and then transferred to Schenley High School in order to study with Joseph Fitzpatrick. Fitzpatrick also headed the Carnegie’s Saturday classes, organized by age into the “Tam O’Shanters” and “Palette” classes. His enthusiastic guidance became legendary. In the painted homage included here, Saunders uses two reproductions of a Marilyn painting by Andy Warhol, another well-known Schenley High-Carnegie student of Fitzpatrick’s. The iconic Marilyns co-exist with an array of clippings and paper scraps arranged around a large boxed X on which a small black heart has been superimposed. Fragments of flyers protesting the Gulf War are juxtaposed and rearranged amidst a firmament of Chinese calligraphy and other printed and drawn ephemera. As usual, Saunders’s visual alchemy ultimately renders the picture a layered, essentially abstract, composition. His narratives wander freely. Chronological sequence is fluid, and the story being told is an impressionistic one.

At age fifteen, Saunders’s work was featured in a solo exhibition at the Pittsburgh Playhouse that attracted favorable attention from the public and the press. He attended art classes at Carnegie Tech before a Scholastic magazine scholarship allowed him to enroll at the famed Pennsylvania Academy of the Fine Arts in Philadelphia. There, Saunders also studied at the nearby Barnes Foundation and University of Pennsylvania. A stint in the army at Fort Ord in northern California introduced him to the extraordinary beauty of the West Coast. He came back to Pittsburgh, earning a B.F.A. at Carnegie Tech in 1960, then returned to the Bay Area, where he received an M.F.A. at California College of Arts and Crafts in 1961. Saunders has taught there since.

Beginning with Pittsburgh—which he recalls fondly as a place of “hills and grass and green trees”—cities have been important to Saunders. His work, resembling elegant graffiti, has a distinctly urban cast. Saunders maintains studios in Oakland and Venice, California, as well as in Paris. He is a constant and wide-ranging traveler, relishing the demand “to be present and to interact. I travel to see and to observe. I want to stay engaged with how I feel and what I see.” Saunders has visited Mexico often, citing an affinity for the tonality and texture of its culture. He has also traveled to China, loving the meticulous beauty of the calligraphy and the brilliant reds that dominate the country’s public coloration. Wherever he goes, Saunders walks the streets, looking for and often salvaging detritus—some of it destined to be incorporated in his later work.

He is the vision of a city walker, and his work provokes a comparable vision for its viewers. It is a democratic and inclusive mode accommodating many readings. Saunders works on the studio floor, hovering above the picture plane, adding and subtracting at will. He reconfigures the whole to suggest new roles for each part, his choices aided by the bits and pieces of things he collects at hand. Like the jazz musicians whose names so often appear in his work, Saunders improvises new sounds from existing notes.

The most ambitious exposition of this technique to date is the recent and monumental painting, The Gift of Presence (1993). Gracing it with a double entendre, Saunders utilizes six wooden doors as the work’s support. An abundant lexicon of words and drawn images moves the eye across contiguous surfaces enlivened with a variety of found objects—most prominently a large circular Coca-Cola advertisement and a Pepsi placard in French. Saunders’s litany of great jazz musicians—Charlie “Bird” Parker, Miles Davis, “Dizz” Gillespie, and others—as well as such geographic inscriptions as “Pittsburgh” and “Harlem” suggest this piece as an extended cultural elegy.

[image: "Installation view of Raymond Saunders, 1996, Carnegie Museum of Art"]

Other recent works such as Malcolm X: Talking Pictures (1994), Urban Talk (1993), and Not Always Invited to Dinner (1995) are somewhat grittier demonstrations of Saunders’s aesthetic. The last assemblage, in particular—with its masked head, large black X, and old clippings about integration in Alabama, George Wallace, the FBI, and Malcolm X—shows Saunders as a visionary rooted in reality.
Further Reading

    Nash, Steven A. Raymond Saunders: Black Paintings, exhibition brochure, (San Francisco: M. H. de Young Memorial Museum, 1995).
    Linhares, Philip. Raymond Saunders: Recent Work, exhibition catalogue, (Oakland: Oakland Museum, 1994).
    Santiago, Chiori. “The Elusive Raymond Saunders,” The Museum of California (The Oakland Museum) 18 (Winter, 1994), pp. 4–9.
    Morris, Gay. “Raymond Saunders: Improvising with High and Low,” Art in America (February 1995), pp. 86–89 and 108."]]></description>
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<item rdf:about="https://asapjournal.com/cluster/the-art-of-walking/">
    <title>The Art of Walking - ASAP/Review</title>
    <dc:date>2026-02-08T05:43:36+00:00</dc:date>
    <link>https://asapjournal.com/cluster/the-art-of-walking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Art of Walking
Edited by Adair Rounthwaite & Judith Rodenbeck

The Articles

The Art of Walking / In the Museums of the Moon: Notes on Walking
By Judith Rodenbeck

The Art of Walking / Beyond the Museum Walls: Angela Ellsworth on 
Walking as Art and Activism
By Stacey Moran

The Art of Walking / Walk to the Cemetery: Visiting the Mother/Other in Carmen Argote’s Art
By Mary McGuire

The Art of Walking / Footage of Resistance, Soundscape of Care: Audio walking in/with (E)motion Pictures
By Ellen Y. Chang

The Art of Walking / Step Into the Fray: Navigating Mixed Realities at the Intersection of Walking, Video Games, Art, and Activism
By Joseph DeLappe

The Art of Walking / Walking While Disabled: Exploring Disability Aesthetics Through Art
By Anne Swartz

The Art of Walking / Pilgrimage as Performance: Gisela Insuaste’s walking talking seeing being: love, labor, and faith on 14th Street (Vacuum Story Pt 1)
By Kathryn Barush

The Art of Walking / My cerebrum is mind and my toe is mind: Thyrza Goodeve Walks with Ernesto Pujol
By Ernesto Pujol

The Art of Walking / One Frame at a Time: Tsai Ming-Liang and His Walkers
By Ellen Y. Chang

The Art of Walking / “How about I bring you a piece of coal from here?” Maria Lanko interviews Vova Vorotniov
By Maria Lanko

The Art of Walking / An Outing to the Lungs of the City: The Group of Six Author’s Walk Around Zagreb
By Adair Rounthwaite"]]></description>
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<item rdf:about="https://www.artforum.com/features/long-walks-208841/">
    <title>Long Walks</title>
    <dc:date>2026-01-25T21:51:43+00:00</dc:date>
    <link>https://www.artforum.com/features/long-walks-208841/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHY GO FOR A WALK? Not to get anywhere; the lack of destination makes it a walk rather than a journey. But a walk is never aimless; you set limits even before you start out: “as far as the woods,” “around the lake,” “along the river to the bridge and back.” Expediency determines the structure of a journey; on a walk you impose your own.

A walk offers a chance to check up on nature, to give in to your senses. You can take your self along for company, or leave it behind, depending on your mood. You can take the dog—an ideal arrangement, since your separate amusements don’t intrude on one another. It’s usually a mistake, as William Hazlitt has said, to go with a friend. Chatting turns the walk into a visit, and miles roll by without your once managing to come in touch with the sensibility of walking.

A walk is an abstraction, an idea. It is a particular kind of passage through space and time; you embark on it to stretch your consciousness as much as your legs. A journey is aimed at its end; the point of a walk is the walk itself.

Richard Long’s art must touch somehow on our experience of walking. Otherwise, why would we find his solitary travels so oddly affecting? When news of them reaches us they are long over. All we get is an Ordnance Survey map, a few photographs, and terse notations of location and duration, deliberately edited of seductive detail. Unlike his literary counterparts, who delight in describing their shanks’ mare adventures, Long tells only that he went.

This absence of rhetoric results in a kind of transparency; Long passes through the countryside, a figure only hinted at, eluding the art audience. There is no way to visit his temporary sculptures of stones or brush, no invitation to follow his carefully structured routes. So the work remains largely cerebral: a mind, more than a body, traveling through the landscape. If we let our minds wander after him, however, we begin to gain limited access to his art. We will never be privy to his experience, but we can reconstrue it to a certain extent. “Going for a walk” can put us in step with him.

Long’s work takes several forms: walks with a stated purpose and duration, site sculptures made in remote places from whatever materials he finds when he gets there, and large floor installations in galleries and museums (the most tangible, though least evocative). All have an economy of gesture; concept, method and materials converge neatly. In the walks the three are synonymous. Less obviously, this is also true of the outdoor pieces.

Long never “forces” a work; stones are used when there are stones, branches when there are branches, brush when there is brush. It’s all local produce; nothing is imported. His works may last or they may become overgrown or wash away. It doesn’t matter, since he doesn’t intend anyone to see them. In the end, we are left with nothing but the knowledge of Long’s intervention, handed to us in the form of photographs and captions describing two generalized particulars—medium and place: Sticks in Somerset, A Circle in the Andes, Stones in Clare.

The indoor pieces—lines, circles and spirals of stones, sticks or dirt placed on the floor—share aspects of this conceptual and structural oneness, for each remains tied to its site despite its deportation. Stones and sticks are often from the vicinity of the installation; their source becomes the work’s title. The position of a specific element within a piece is usually determined by its relation to the other elements, so that while individual installations might differ, a work’s concept remains the same. Driftwood sticks of various lengths are laid down in rows so that each stick is a certain number of its own lengths in front of its predecessor. A track of muddy footprints, “the length of a straight walk from the bottom to the top of Silbury Hill,” is curled into a spiral, the size of the room determining the number of coils. Presumably these works could be redone; I know of a large circle of loose stones that is periodically picked up and put back. Long specified the diameter of the circle and left written instructions that the stones lie randomly within it, resting on their longest, flattest and most stable sides without touching each other.

The scale of Long’s art is often ambiguous. Considering its utter privacy, its lack of pretension and its scanty traces, it seems intimate and small (a dot or a line on a vast plane; a moment in an aeon). But a walk’s dimensions (often hundreds of miles) or duration (many hours, even several days) are quite sizable. Long’s works are not performances, his unknown endurances are not the stuff of body art. Did he take sandwiches, get caught in the rain, camp out for the night? We are told nothing of this. (How different from Peter Hutchinson’s Foraging, an esthetic hike in the Rockies where recording of detail was the purpose and survival the issue—a theme that became particularly poignant after the artist and his companion dined on the wrong mushrooms.)

Though time and distance complicate our perceptions of scale in Long’s work, they tend to crystallize its structure. One or the other is predetermined on a walk—usually distance, though sometimes, as in A Walk of Four Hours and Four Circles, Dartmoor, 1972, time is the determining factor. This walk is recorded as four concentric circles on an Ordnance map, each representing a one-hour walk. How four trips of such obviously different lengths could all take the same time is not explained—but the artist’s decisions are hinted at: perhaps he strolls slowly, then speeds up, even runs around the largest circle.

The site sculptures are seldom presented within the context of a walk, but occasionally these two facets of Long’s art come together in an enterprise that is conceptually quite terse. For 164 Stones/164 Miles, Long walked across Ireland (164 miles) “placing a nearby stone on the road at every mile along the way.” He lists the number of stones per county he passed through: Clare 49 stones, Tipperary 38 stones/Kilkenny 27 stones, Leix 9 stones, Carlow 20 stones, Wicklow 21 stones. The piece combines a long walk, an immense stone sculpture (or is it? It only has 164 stones; much shorter lines have contained more) and a substructure in which the counties, boundaries in themselves, are represented by stones, which represent miles, which are arbitrary measurements in the first place. It is a major work, but Long boils it down to a two-page spread in a book, with text on the left and a photograph of the road, and a stone, on the right.

Though much of Long’s work is linear, its development is not. Ideas appear again and again. His art is cyclical, like time, when thought of in terms of hours, seasons, and finally, history. It is natural to perceive time as linear, since one’s life occupies such a short segment of it that the curve isn’t always noticed. But time circles around and around, renewing, altering, passing by again. A dialogue between the constantly changing and the enduringly permanent takes place in the landscape. Long’s recurring motifs—the line, the circle, the spiral—emerge from landscape, and have acquired something of its character.

It is tempting to take an art/historical walk through time, back from Richard Long’s work. One could start at the stone circles of neolithic Britain and the spiral carvings of the Bronze Age, travel along early Roman roads, and take in Medieval pilgrimages, especially that of Edward I, who erected stone crosses at each resting place of the funeral procession of his queen. The 17th and 18th centuries become even more interesting. Not only is there all that theory about the “natural artifice” of parks and gardens; you could also make the Grand Tour of Europe, de rigueur for the well-heeled young Englishman. Traveling within the British Isles became equally popular about this time, Samuel Johnson’s trip with Boswell to the Hebrides being one literary result. Next century you could drop in on Constable and Turner and take a stroll around the Lake District with Wordsworth and friends. And once you hit the 20th, if you’re at a loss for directions, just consult the Blue Guide, that compendium of fanatical detail that fascinates the English traveler and reveals as much as any romantic poet.

In trying to attach any of this to Long, however, one inevitably comes a cropper. It has everything—and nothing—to do with him. Long makes no secret of his interest in the ancient work; some pieces draw directly on it. Stonehenge and the Cerne Abbas giant have been focal points for walks; a labyrinth carved in a boulder in Ireland generated his Connemara Sculpture, 1971, where he reproduced the design in stones on the ground. Other works, which involve spirals and circles, especially circles of standing stones, incorporate this history as fully, if not as specifically.

The differences between Long and his unknown ancestors are more subtle than the similarities. Were the ancient monuments religious, funereal, astronomical? Convincing arguments have been put forth for all three. But Long does not borrow his sources’ presumed content, as does much recent art that depends on deliberate “primitivizing.” His primary concern seems to be with the geography and topography of the landscape; with measuring and marking on it, with echoing its character in his choice of sculptural materials and methods. Long’s connection with the ancient monuments has more to do with their presence in the landscape than with their role in prehistoric culture.

The pilgrimage model also turns out to be a dead end. Pilgrims undertook arduous journeys propelled by faith and the hope of salvation, or for the good time and good company, as Chaucer would claim. Neither motivation can profitably be applied to Long.

The builders of the great 18th-century gardens and parks may seem closer at first, since their endeavors were at least artful, and involved imposing a structure on nature. But again the connection fades out; those designers were after visual effects—carefully planned vistas that would be pleasing to the eye and mind. With the exception of a very early work, England, 1967, in which he erected a rectangular frame in the landscape and placed a circle on the ground some distance away that was meant to be seen either through or outside of the frame, I know of nothing Long has done that places much emphasis on visual effect. So again he remains, fundamentally, separate.

But Long does have something in common with all of these predecessors, even if specific connections continue to elude us. For their activities are carried out within the landscape itself, particularly the English landscape. A feeling for the countryside has always informed the English sensibility. A small, well-groomed island, spared extremes of climate, Britain has been under cultivation for so long that few parts remain untouched. The traces of the past to be found are not glimpses of its primeval state, but endless evidence of previous tenants (unlike America, where immense areas of wilderness and desert still allow you to preserve at least the illusion that no one has been there before you). In Britain landscape is in short supply; the English dream most fervently of cottages in the country. But their fascination is with the landscape’s spirit, rather than its geology, which offers no challenge to conquer—no vast peaks or wastelands, no major wonders. England offers a landscape of tranquility, solace, respite. A gentle communion with the countryside pervades all English art, Long’s no less than his forebears’.

It is so fundamental to his work, in fact, that he does not alter his approach or methods in foreign terrain. Long has worked in far more rugged places than the British Isles—Alaska, Canada, the Andes, the Himalayas. But the results all evidence the same softness of touch; it is not as though he embarks on such trips for more remote or more challenging quests.

Long’s work may have its roots in the English attitude to the countryside, but it also catalyzes some of the definitive ideas of 1970s art. The abrupt retreat from the frenetic ’60s; the renewed interest in natural rather than industrial forms and materials; a shift in the approach to the art audience, not to mention the change within that audience; the move out of doors, away from the museums and galleries—such developments have characterized, and helped to form, the diffuse activities that composed ’70s art. It is interesting that Long has never worked in a more traditional medium; he has walked only ’70s territory, adapting its recurring themes—the line, the circle, even the grid.

Over the past ten years Long’s work has remained much the same; his gentle interventions in the landscape have maintained their discretion, his indoor pieces continue along similar paths. The line, the circle and the spiral still form the basis of his sculptural vocabulary. But although there has been no radical shift in direction, he continues to hone his processes. For one thing, his work has become more conceptually tight as he has intertwined it with its generating impulse—the landscape. Walks have become less rigid in structure as he has turned from formal to natural yardsticks.

Earlier walks, such as the concentric circles, the grid, or the many straight lines, skirt the issue of how one executes such a project accurately on natural terrain. On maps they can, of course, be diagrammed precisely, but on foot this would be impossible. More recently, however, Long has been drawing the structure of his pieces from geography instead of geometry/focusing especially on rivers. The choice is particularly suited to the cogency of his thinking, since rivers are also lines; they mark on, and in a sense “structure” the landscape. (The landscape also determines the course of the rivers, much as it influences the direction of Long’s art.)

The Avon has provided the impetus for several recent works, among them A Walk of the Same Length as the River Avon. There is no difficulty here about rendering straight lines or perfect curves. The Avon “walks” from its source to its mouth; Long walks the same distance, not along the river itself, but on an ancient road that follows it. At one point the road crosses the river; a photograph of a footbridge, along with maps of the river and the road, become the evidence.

Another recent river work has a slightly different inflection, but is just as harmonious conceptually. In 130 Miles from the Source to the Sea, Dumfriesshire, Scotland, 1978, Long placed a pile of 130 stones at the source of the River Clyde, furnishing on his return a photograph of the pile of stones, duly labeled. Again the gesture is entirely suited to the circumstance; concept and method remain inextricable. Long’s work has always been extremely economical, but the recent pieces seem particularly well resolved.

For an art that gives us so little to go on, Long’s work is surprisingly rewarding. There is an element of romance in our knowledge that it is, for the most part, unattainable. Or is it? There is no law against pushing our imagination; it can become our passage to England, our Himalayan trek. We can negotiate our own progress through space and time as surely as Long can. That’s where walking comes in.

On one of this walks, Long went around a mountain range in Ireland—Macgillicuddy’s Reeks—throwing a stone. Anyone who does this knows. As you start out your eye scans the roadside for the right stone. You find one and give it a toss; it skitters along and rolls to a stop some yards ahead. Eye fixed on it to make sure you don’t lose track of it among the others, you catch up to it, toss it again. Before you know it, you have become very attached to that stone. It structures your walk; you go where it goes.

—————————

The soul of a journey is liberty, perfect liberty, to

think, feel, do just as one pleases. We go a journey

chiefly to be free of all impediments and of all

inconveniences; to leave ourselves behind, much

more to get rid of others.

—William Hazlitt, On Going a Journey

In climbing, the summit is nearly always hidden,

and nothing but a track will save you from false

journeys. In descent it alone will save you a

precipice or an unfordable stream. It knows upon

which side an obstacle can be passed . . . and

where there is the best going. . . . It will find what

nothing but long experiment can find for an

individual traveller . . . everywhere The Road,

especially the very early Road, is wiser than it

seems to be.

—Hilaire Belloc, The Old Road

. . . de Selby makes the point that a good road will

have character and a certain air of destiny, an

indefinable intimation that it is going somewhere,

be it east or west, and not coming back from there.

If you go with such a road, he thinks, it will give

you pleasant traveling, fine sights at every corner

and a gentle ease of peregrination that will

persuade you that you are walking forever on

falling ground. But if you go east on a road that is

on its way west, you will marvel at the unfailing

bleakness of every prospect and the great number

of sore-footed inclines that confront you to make

you tired.

—Flann O’Brien, The Third Policeman

It is not indifferent to us which way we walk. There

is a right way; but we are very liable from

heedlessness and stupidity to take the wrong one.

We would fain take that walk, never yet taken by us

through this actual world, which is perfectly

symbolical of the path which we love to travel in

the interior and ideal world; and sometimes, no

doubt, we find it difficult to choose our direction,

because it does not yet exist distinctly in our idea.

—Henry David Thoreau, Walking

A walking tour should be gone upon alone,

because freedom is of the essence; because you

should be able to stop and go on/and follow this

way or that, as the freak takes you; . . . you must

be open to all impressions, and let your thoughts

take colour from what you see. You should be as a

pipe for any wind to play on.

—Robert Louis Stevenson, Walking Tours

Nancy Foote is an art critic.

—————————

NOTES

With all ephemeral art, documentation becomes of major importance. It takes several forms in Richard Long’s work: photographs and maps framed together with text; photographs and text presented in books (often published by museums and galleries at the artist’s request instead of conventional catalogues); and artists’ books. Much of Long’s documentation wavers between “primary” and “secondary” information—the work itself versus a reproduction of that work. Photographs of site sculptures would normally fall into the second category, but as Long presents them, with laconic captions, they become, in a sense, primary. His interest in “art” photography is minimal, unlike that of his friend and sometime walking companion Hamish Fulton, whose images, though related to Long’s in concept, are much more self-consciously concerned with photography. In addition to strict recording, Long sometimes uses a photograph to stake an esthetic claim, as when he takes a spot of conceptual interest, such as the source of a river that generates a walk. And in books such as A Hundred Stones; One Mile Between First and Last, the photographs are, in a sense, primary because they gather the stones into a single work."]]></description>
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<item rdf:about="https://placesjournal.org/article/bookshelf-fall-2025/">
    <title>Bookshelf: Fall 2025 | Book Reviews in Places Journal</title>
    <dc:date>2026-01-18T00:51:46+00:00</dc:date>
    <link>https://placesjournal.org/article/bookshelf-fall-2025/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Landscape Fieldwork: How Engaging the World Can Change Design
Gareth Doherty (University of Virginia Press, 2025)
Reviewed by Liska Chan

I often tell students that the most important tool in fieldwork is time. Not the measuring tape, camera, or even sketchbook, but the willingness to stay put: to sit on a curb or lean against a fence long enough for the landscape to start talking back. Gareth Doherty’s Landscape Fieldwork builds on the same premise, treating fieldwork not as a preliminary stage but as the very ground of design practice.

Drawing on his ethnographic research in Paradoxes of Green: Landscapes of a City-State, Doherty elevates the small acts that shape design: scribbling marginal notes, making hurried sketches, listening for birdsong or traffic hum. These, he argues, are not incidental but methodological, cultivating attention to the entanglements of bodies, materials, and environments. Fieldwork, in his framing, is plural and provisional — encompassing surveys and maps, but also walking, noticing, and lingering. His examples move fluidly from classrooms to global sites, reminding readers that fieldwork is at once everyday and expansive, rooted in habit but also in improvisation.

[images: 

"Design sketch of a proposal for the village center of his hometown in Ireland, created by the author as a design school project. Drawing by Gareth Doherty, reproduced in Landscape Fieldwork.

and

"Aerial view of the roof garden of Safra Bank, São Paulo, designed in 1938 by Roberto Burle Marx. Photo by Leonardo Finotti, from Landscape Fieldwork."]

From a feminist perspective, this emphasis on situated and embodied methods resonates with longstanding calls to rethink how knowledge is produced. Donna Haraway has reminded us (beginning, in 1988, with Situated Knowledges) that there is no view from nowhere, and Doherty’s account echoes that insight. Gillian Rose’s critiques of visuality (e.g. in Feminism and Geography, from 1993) similarly describe observation as always partial, shaped by the position of the observer. Yet at times, Doherty smooths over difference. No field is neutral: who observes, and under what conditions, matters as much as what is observed. More engagement on Doherty’s part with feminist traditions that foreground reciprocity, vulnerability, and positionality could have deepened this claim. Readers might also look to contemporary practitioners such as Present Practice (Katherine Jenkins and Parker Sutton), Michael Geffel, and the Curious Methods project by Sean Burkholder and Karen Lutsky, whose inventive approaches to drawing, mapping, and site-based research model fieldwork as both critically attuned and experimentally open.

Still, Landscape Fieldwork makes a timely contribution. In an era of climate crisis and civic unraveling, Doherty’s invitation to linger feels urgent. To linger in the field is not an indulgence but a politics: what we choose to notice — weeds, rust, butterflies, bottles — shapes the worlds we imagine into being, and the futures we are willing to fight for."]]></description>
<dc:subject>liskachan garethdoherty fieldwork slow time 2025 via:javierarbona method observation noticing landscape ethnography presentpractice presence katherinejenkins parkersutton michaelgeffel curiousmethods methods process seanburkholder karenlutsky gillianrose visuality donnaharaway situation walking lingering small local surveys maps mapping improvisation situatedknowledge vulnerability reciprocity positionality practice drawing climatecrisis</dc:subject>
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    <title>Making maps at dusk: reflections on walking the Shrewsbury Skull – Walkspace</title>
    <dc:date>2026-01-18T00:36:35+00:00</dc:date>
    <link>https://walkspace.uk/2026/01/17/making-maps-at-dusk-reflections-on-walking-the-shrewsbury-skull/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paul Wakelam reflects on November’s Walking the Shrewsbury Skull event, guiding us through a liminal winter journey of history, ghosts and secret cobbled alleyways."]]></description>
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<item rdf:about="https://news.vcu.edu/article/2026/01/stride-and-ride-walking-is-art-class-takes-the-pulse-of-richmond">
    <title>Stride and ride: Walking is Art class takes the Pulse of Richmond - VCU News - Virginia Commonwealth University</title>
    <dc:date>2026-01-18T00:33:53+00:00</dc:date>
    <link>https://news.vcu.edu/article/2026/01/stride-and-ride-walking-is-art-class-takes-the-pulse-of-richmond</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The VCUarts course uses the public bus line and the pandemic’s sensibility to get students moving, exploring and creating."

...

"By foot – and by free bus fare – a unique Virginia Commonwealth University course is blending art, exercise and community exploration, years after the pandemic brought it to life.

The brainchild of School of the Arts associate professor John Freyer, Walking is Art is a film and photography course offered in the spring semester. His classroom partner is Michael Lease, the director of facilities and experience design at the Institute for Contemporary Art at VCU.

“The class is built around the Pulse,” Freyer said of the local GRTC bus route. “We wanted to essentially walk the entire city of Richmond, using the Pulse as backbone for the class.”

Once a week, in a class that is almost entirely outdoors, the Walking is Art students gather and take the Pulse to one of its stops, then explore the surrounding areas by foot. Neighborhoods, shopping centers, surrounding nature – all things around the stops are discussed and examined for their significance. The class often takes students to places they have not previously seen, and it prompts them to think about the relationships between normal objects in everyday life.

“I thought this class was an incredible and unique way to experience learning outside of the traditional classroom setting,” said Ella Floyd, a 2024 VCUarts graduate who took the course in her final semester. “My experience was one of pushing myself outside of my comfort zone by meeting new people and learning more about the GRTC Pulse bus system, and how it historically ties into our Richmond social and political environment.”

Walking is Art has its roots in the COVID-19 pandemic. When social distancing and home isolation were the norm, Freyer envisioned a class that could bring people together while still abiding by the health guidelines.


[image: "A group photo of ten people standing in front of a puddle with the reflection of the puddle being the ten people standing.

Students from the Walking is Art class in spring 2024 take a photo in front of a group of murals. Students from left to right are: Ryan Ervin, Jay Stonefield, Evie Abeles, Laela Huddleston, Inara Junkala, Madeleine Poel, Calvin Ashley, Elianna Caro, Barrett Reynolds, Joel Freeman and Miño Smith. (Contributed photo)"]

“I wanted to come up with a way to be in person with people,” he said. “Essentially, I pitched this class that we never had to meet in a classroom.”

Freyer initially was the sole instructor, but Lease joined him soon after its introduction. An avid walker, Lease would regularly ask Freyer about how Walking is Art was progressing, and Freyer’s invitation to a class session turned into a lasting partnership.

“I was just so curious about it,” Lease said. “It just sounded like a perfect thing to do.”

Freyer and Lease ask the Walking is Art students to attempt 10,000 steps a day throughout the semester, which totals roughly 1 million steps. And on the creative side, students have a large final project that revolves around their experiences walking.

One set of students developed a custom Google map, and another created a podcast that is available on the class website. For the upcoming spring semester, one prospect is experimenting with zines. The small custom booklets or magazines would document the students’ progress throughout the semester and could be donated to the Cabell Library afterward to preserve their experience.

Walking is Art meets regardless of weather, and students have shown themselves to be durable.

[image: "A photo of a man kneeling next to a brick fence painted blue. On the fence is a white bubble with blue text that reads \"you are here.\" The main is pointing at the text with his right hand.

Instructor John Freyer poses for a picture while on a walk during a class session. (Contributed photo)"]

“It started hailing and thunderstorming out of nowhere, but [Freyer] was so quick on his feet and helped me lead the class to a nearby bakery to wait out the storm,” Floyd recalled of one session. “I would say that walk was the most turbulent, but everyone had such a great time, and the storm cleared up within 30 minutes!”

For the Walking is Art instructors, the true impact of the course is developing a like-minded community built on walking.

“What I hope is that students’ relationship with the city has been changed,” Lease said. “That they feel more comfortable in the city. They’re more knowledgeable about the city. They engage with people in the city in different ways. They walk more in their life just in general.”

Floyd said she developed such an appreciation in Walking is Art – and a great set of memories that she hopes others can forge for themselves.

“If you enjoy Richmond history, public transport, walking or even just sharing laughs that split your sides, this is the class for you,” she said. “I just wish I could take it again!”"]]></description>
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<item rdf:about="https://walklistencreate.org/2026/01/15/the-walking-assembly-2026/">
    <title>The Walking Assembly 2026 – walk · listen · create</title>
    <dc:date>2026-01-15T20:41:23+00:00</dc:date>
    <link>https://walklistencreate.org/2026/01/15/the-walking-assembly-2026/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dynamic Knowledge: moving together in practice. How to learn without teaching
9–13 May 2026 · Salt → Albanyà → Muga River (Girona, Catalonia, Spain)

The Walking Assembly 2026 is a nomadic, field-based gathering for artists, researchers, educators, and collectives interested in walking as a form of knowledge-making, relational practice, and ecological inquiry. Building on the Walking Arts and Relational Geographies encounters held in Catalonia in 2022 and 2024, the 2026 edition marks a decisive shift: from conference to assembly, from encounter to movement.

Rather than relying on conventional academic formats, The Walking Assembly proposes an experimental model in which knowledge emerges through shared walking, presence, and collective experience. Learning is understood not as something transmitted or taught, but as something that arises through movement, attention, and being together in place.

Organised by Nau Côclea with an international curatorial team, The Walking Assembly 2026 takes place within the framework of the HO1 POCTEFA cross-border project (Spain–France).
Concept & Theme

Dynamic Knowledge: moving together in practice. How to learn without teaching

The Assembly starts from the recognition that certain forms of knowledge are embodied, relational, ecological, and situated—and cannot be fully grasped through disciplinary research or formal instruction alone. Walking is proposed as:

- a mode of knowing grounded in movement, care, and attention
- a commons based on hospitality, reciprocity, and co-creation
- a way to explore relationships between human and more-than-human worlds

Water, and specifically the Muga River, serves as both guiding metaphor and material presence throughout the Assembly, foregrounding flow, transformation, accumulation, erosion, and return as pedagogical forces.
Structure

Part 1 – Confluence in Salt (Saturday, 9 May 2026)
A one-day open Confluence hosted in Salt (near Girona), bringing together up to 120 participants. Moving beyond traditional conference formats, participants share materials in advance and engage on site through conversations, walks, workshops, and collective sessions. Highlights include a public conversation with Tim Ingold, and an introduction to the walking expedition and thematic walkshops. As part of the parallel programme, expedition participants will take part in an experiential walk in the Urban Gardens of Salt with the Milfulles Association, while non-expedition participants are invited to a counter-mapping workshop led by Luce Choules.

Part 2 – Walking Expedition along the Muga River (10–13 May 2026)
A four-day, three-night nomadic walking expedition based in Albanyà, limited to 30 selected participants. Working in small groups, participants engage in sustained dialogue with the river and its landscapes through themed walkshops, including:

- The river that sees us – Clara Garí and Marc Caellas
- Walking, Writing, and the Commons of Attention – Geert Vermeire
- Personal and Other Pilgrimages – Claudia Zeiske
- Walking on Water – Pau Cata

Evenings are dedicated to collective reflection and sharing. A live photographic fieldwork process, coordinated by Luce Choules, will form an evolving expedition archive."]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/us-is-better-than-europe">
    <title>US is better than Europe! - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T20:43:08+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/us-is-better-than-europe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Or so say some people, at least by their actions"

...

"(Warning: The headline is engagement bait. Read below for a more nuanced discussion. Well, hopefully it is more nuanced.)

Every few weeks Twitter gets caught up in a fight when someone proclaims that Europe is better than the US, or vice-versa1. I usually stay away from these dust ups because it’s an ignorant debate. The question is badly defined, subjective, and impossible to answer, so the fights devolve into two groups talking past each other, until someone eventually drags out a picture of Breezewood [https://walkingtheworld.substack.com/p/walking-america-part-5-breezewood ], and then for all effective purposes it’s over2.

To the pro-Europe side, Europe is a cornucopia of crime-free, gothic-cathedral-having cities with great public transportation, quaint row homes, and sensible policies on guns, health care, and child care. America, in contrast, is a dystopian landscape of depressing suburbs with oversized cars, soul-sucking strip malls, and people shooting up drugs and each other.

To the pro-US side America is a land of hard-working, money-making, independent-minded people who hate being told what to do, especially by mid-wit bureaucrats with zero appreciation that human flourishing requires true and almost absolute freedom. Europe, by contrast, is an impoverished, crowded, backward, continent determined to stay impoverished, crowded, and backward because of a stubborn and stupid commitment to high taxes, high regulation, and low entrepreneurialism.

The inconvenient reality (for each camp) is that both are large diverse places with a lot of different groups living in very different ways, and so it’s close to impossible to compare, except in strokes so broad it ends up being useless.

The latest of these tweets, which against my better judgement I engaged with, isn’t that bad, because I think it gets the broad strokes correct. Which is, in the US most of your income is yours to decide what to do with, whereas in Europe a majority of it, or close to it, is funneled to a central authority that’s dedicated (in theory) to the public good.

[screenshots:

<blockquote>[Marko Jukic, @mmjukic]Europeans aren't poor. They are illiquid. Much of Europe's wealth is stored in safe streets, nice parks, public transit, "free" healthcare, etc. which, it turns out, are too socially expensive for Americans to maintain. Americans take the money instead. The rest is only natural.

<blockquote>[Flo Crivello, @Altimor] Americans severely underestimate how dirt poor most Europeans are.

They go spend their American wages there and are amazed at the "quality of life," not realizing that they're taking the equivalent of a trip to Disneyland, and everyone around them is the staff.

<blockquote>[Scott Lincicome @scottlincicome] Median size of a dwelling in every US state vs the same thing in Europe. [presumably a map or chart]</blockquote></blockquote>

[Marko Jukic, @mmjukic]The EU has triple the population density of the United States and doesn't believe in "suburbs," just "cities." Given how much more space there is in America, it's surprising that the numbers are so close, if anything. [maps]</blockquote>

Or, as I’ve written before [https://walkingtheworld.substack.com/p/why-the-us-cant-have-nice-things-a6d ], it’s about a communitarian versus individualistic lifestyle, with the US having chosen a policy path emphasizing self-sufficiency and convenience, and Europe being more focused on the communal good and restraint.

The tweet also highlights the two most striking, easy-to-measure differences between the US and Europe — the US is wealthier, at least in material terms, and has a lot more space, and so US homes end up being large enough that Europeans get either jealous, or see them as wasteful — You mean, you don’t live with your parents and grandparents in a fourth floor walk-up? You mean you have separate rooms to cook in, eat in, and even store your junk in? Wow.

There are so many other easy-to-measure differences between the US and Europe, like life-span, crime, pollution, car ownership, and so on, that makes it close to impossible to adjudicate which is better on data alone, even if you wanted to go that way.

Then there are all the hard to measure very subjective differences, like aesthetics, food, nature, and so on, that highlights that it’s a very personal decision.

Or, asking which is better is a deeply silly and flawed question, since it’s asking someone if they prefer the culture they grew up in, or a different one, and with a few notable exceptions3 the majority of people will vote for their own culture because it’s core to their identity. Humans are cultural animals, groomed from birth by the society they grew up in, to value the society they grew up in.

I’ve alluded to this cultural essential-ism before, in my essay on Thick Travel [https://walkingtheworld.substack.com/p/thick-travel ],

We humans are cultural animals, imbued at birth with “the natural equipment to live a thousand kinds of life” but who generally end up “in having lived only one.”

That one life we end up living is largely determined by what culture, and place in it, we are born into.

As Geertz writes,

<blockquote>“As culture shaped us as a single species so too it shapes us as separate individuals. This … is what we have in common.

Oddly enough, many of our subjects seem to realize this more clearly than we anthropologists ourselves. In Java, for example, the people quite flatly say, “To be human is to be Javanese.”</blockquote>

To be human is to be American, or Danish, or Japanese, so it’s not surprising the majority of people are more comfortable in the culture they’re born into4.

So, why am I writing this essay, and why did I title it the way I did, other than as click-bait, especially given how often I write about what the rest of the world does better than the US, like the whole being happy thing. [https://walkingtheworld.substack.com/p/walking-the-world-hanoi-part-1 ]

Because while the majority of the world does like where they live (again, with the big caveat of destitute places), a minority does indeed reject the culture they’re born into, and choose to move, and an even larger minority dream of moving, and almost all of those who do, imagine themselves in the US.

As I tweeted in response to the above tweet, again somewhat provocatively,

[screenshot:

<blockquote>Don't necessarily disagree with this framing (would say it differently), but I believe a large percentage of Europeans would swap their tiny apartment three miles from downtown Brussels, or Marseille, their tiny car, for a ranch house in Jacksonville beach with three cars & a yard for the kids to play in.

Not sure many Americans would take up the opposite offer, other than grad students wanting a quaint experience

Maybe I'm wrong, but that's my sense.</blockquote>]

Now there are things I would change with that tweet, which was attempting to compare the modal (or most common) European experience to the modal US experience. For instance, I would switch Jacksonville Beach to Jacksonville, or Houston, and Marseille to Bucharest or some other Eastern European city.

Yet, I stand by the intended larger point, culled from years of talking to people all over the world, which is, what the US is selling (space, freedom, meritocracy), has a lot of buyers across the globe, including in Europe. Or to put it another way, the rest of the world (other than academics) really really love the US. Or, at least they love the idea of the US.

Why do I feel the need to point this out? Because I don’t think it’s well understood on twitter, and certainly not in the “smart” discourse.

The reason it’s not well understood is because the people who find the US brand the most appealing are not people you hear from a lot, because they don’t have lots of money, or lots of education.

There is a big educational divide in how the world views the US, and it’s lifestyle, with the less educated being largely positive towards it, while the highly educated generally favor a more European lifestyle (walkable urban environments with smart regulation), including those in the US, who cluster in the most European parts of the US5.

That’s partly why I went to Phoenix, which in many ways represents the pinnacle of what the educated hate most about the US — its sprawl, its dependency on cars, its disregard for the natural elements, its ugly wastefulness, its shortsightedness that places immediate convenience above a focus on the longer term and greater good.

Now, I also famously hated Phoenix, loathed it so much that I’m still getting yelled at on Reddit, but Phoenix is growing rapidly, which shows that while I don’t like it, and you might not like it, a lot of people really do like it. Or at least what it represents to them.

As I wrote then,

<blockquote>Phoenix is a large grid, of mile-long four-lane sides, with shopping plazas at the corners, and an inside of twisting single-lane roads and simple ranch homes on half-acre plots. Those residential insides are the nice parts, and showing that they’re nice is partly why I’d come to Phoenix: to highlight a version of the American Dream, which, while I might not love and isn’t necessarily “walkable,” is still very appealing to lots of people. It’s what I wrote about last week, when I cautioned that walkability doesn’t necessarily translate into livibility. [https://walkingtheworld.substack.com/p/so-what-makes-a-city-more-walkable ]</blockquote>

This weekend I made a personal trip to Miami, where I did a ten-mile walk through the least fancy parts6. When I mentioned this on Twitter, I got a now very familiar push-back telling me all that’s wrong with Florida: That it’s going to be underwater soon. It’s hot. It doesn’t have any culture. Basically, it’s an unlivable gross shit-hole with a wrong approach to everything, including politics.

Yet, people are moving to Florida. In droves. And they’ve been moving there in droves for the last fifty years.

I grew up in central Florida, not the fancy part, and back in the 70s our school system was so overwhelmed with an influx of new residents from Michigan, New York, Ohio, and the rest of the north, that they shifted to an absurd system called 45-15. Each student was assigned one of four tracks (mine was B) that went to school year round, but alternating between nine week stints, followed by three week breaks, so that at any time only three quarters of the students were attending.7

Since college I’ve been moving further and further north, and at each stop people keep telling me I’m going in the wrong direction. Just this morning, at my local upstate NY McDonald’s, the old man table, when they found out I was originally from Florida, did the usual, “So, why in the hell did you leave?” thing.

All of this is a very long way of saying, people’s actions reveal a lot, and one of the things they’ve revealed to me over the last four years of travel is that while I might be very critical of the US, especially places like Phoenix, I’m beginning to understand that I’m in the minority. Which is helpful to remember.

The American lifestyle I’m so critical of, the lack of public transport, the selfish lifestyle, the gross materialism, the shortsightedness, the paper thin intellectually vapid bling, is very appealing to a large percentage of the world, and that should matter. How large a percentage? I’m not sure, but while it may not be a majority, it’s not far from it.

The smart push-back against this, which is something I’ve written a little bit about before, is that ok, people think they like the US, think they want to move to Phoenix or Florida, but that’s them responding to an image being sold. It isn’t reality.

Or, the people who tell me, over beers in Hanoi or Ulaanbaatar, or coffees in Belgium or Bucharest, that they want to move to the US don’t really know what they’re getting themselves into, deluded by glossy images from TV. Or it’s the grass is always greener effect.

There is certainly a lot of that going on, but the more time I spend walking the world, the more time I spend talking to people, I think the deeper answer is that the image the US projects and represents to a lot of the world, and in many ways provides its residents relative to other places — opportunity, material wealth, safety, independence, space, convenience, and lots of immediate pleasure — is a lot more appealing than what I’ve believed before, or want to believe. So appealing it breaks across cultural boundaries and life-long preferences.

That is, maybe most people really do want an American style transcendent-free lifestyle, especially if it comes with the conveniences of a huge dyer, powerful AC, two large cars, and a ranch house on a plot of land that couldn’t ever hold a heard of animals larger than rats.

The US has a lot of problems, but people not wanting to move here, isn’t one of them, and that shouldn’t be forgotten.

[footnotes]

1 - There is a whole meme dedicated to this, called “The American mind cannot comprehend this.” Google it.

2 - There is something called Godwin's law, which states, “As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one.”

I would like Arnade’s law to be, “As an online discussion over Europe versus US grows longer, the probability of someone posting that picture of Breezewood approaches one.”

3 - Very destitute places are a clear exception. Like Senegal.

Also, as I address further down in the essay, highly educated people (like myself) are less products of their culture. One of the attributes of modern education is an emphasis on valuing new experiences, and different cultures.

4 - Or to put it another way, our cultural provides us our utility function and that is what we use when we decide what array of variables is most important.

5 - Upscale neighborhoods in big cities, and any neighborhoods around elite colleges.

6 - For Miami knowers, I walked up 441, from downtown to Opa-Locka

[map]

7 - They both couldn’t, and didn’t want to out of cheapness, build new schools fast enough to deal with the demand. "]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/four-years-of-walking-the-world">
    <title>Four Years of Walking the World</title>
    <dc:date>2026-01-10T20:03:26+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/four-years-of-walking-the-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you want to extend the metaphor of culture as the result of elites playing SimCulture, then you also need a model for your Sims. What are they? What is a person? I believe humans have an inherent purpose or telos, which provides (at least in my view) a clear definition of what makes life fulfilling. I can’t give you a precise answer, because I don’t believe I’m smart enough, but I do think that it’s about the spiritual. That is, material wealth alone will never be fulfilling. There needs to be something transcendent. Something beyond the here and now.

When I was doing the press rounds for Dignity, I realized I needed one take-home lesson, one platitude, that summarized what I’d learned from ten years talking to people all over the US, and my answer was, “Everyone wants to be a valued member of something larger than themselves,” and I still believe that, but I would now amend it to end with “something larger than themselves that transcends this material world.” Or, something that lives on for eternity.

To pontificate for a little bit more, I’m leaving in two days for China, and I believe no matter what else I think about the CCP, they do understand all of this. Maybe not the Catholic part, but the idea that there is an elite who build culture and that elite should have a goal in mind. The CCP of course sees themselves as that elite, and as I’ve written before, that self-recognition is, in my opinion, better than pretending, like the West does, that elites don’t shape culture, and consequently they don’t take their “jobs” seriously, so they don’t really know, or understand, what they want. What I believe Western elites want, judging from their policies and rhetoric, is maximum individual freedom for everyone. Which I believe is an incoherent telos. People are social creatures, and are only understandable within the context of a community, and so maximum individual freedom is a misguided goal. It feels good for most of the ride, but you’re going in the wrong direction, towards isolation, and away from the meaningful. It’s like driving in a really snazzy convertible deeper and deeper into the desert; the ride feels great until at some point you realize you’re utterly alone, which is immensely depressing."]]></description>
<dc:subject>chrisarnade walking travel elites culture ccp china italy italia catholicism korea japan seoul tokyo food australia vietiane dakar phoenix faith faroeislands brussels senegal belgium laos fulfillment cities nyc sydney churches cultemaking individualism freedom hanoi vietnam taskent lima perú bishkek uzbekistan kyrgyzstan infrastructure walkability lombardy dover portsmouth uk germany denmark fukuoka ceviche avignon istanbul augustine saintaugustine social belonging tradition life living dignity us west progressivism humannature humanism humanity consumption consumerism materialism personalfreedom politics socialism libertarianism sharing nations citizenship society taiwan 2025 staugustine türkiye turkey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:06f5eb5f3ae7/</dc:identifier>
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<item rdf:about="https://walkingtheworld.substack.com/p/walking-thinking-and-god">
    <title>Walking, Wittgenstein, and God</title>
    <dc:date>2026-01-10T17:55:28+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/walking-thinking-and-god</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Without God, what exactly is there?"

[See also:

"Why I Walk - Chris Arnade Walks the World
Walking as learning"
https://walkingtheworld.substack.com/p/why-i-walk-part-1

"How to Walk (12 miles a day)
"Little tips for walking a lot""
https://walkingtheworld.substack.com/p/how-to-walk-12-miles-a-day ]]]></description>
<dc:subject>chrisarnade walking wittgenstein 2025 god philosophy life living urban cities belief faith fatalism nihilism stoicism catholicism mysticism fulfillment hollowness happiness rationalism computing computers enlightenment</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5f48ab64a582/</dc:identifier>
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</item>
<item rdf:about="https://walkingtheworld.substack.com/p/how-to-walk-12-miles-a-day">
    <title>How to Walk (12 miles a day)</title>
    <dc:date>2026-01-10T17:53:36+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/how-to-walk-12-miles-a-day</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Little tips for walking a lot"

[part 1:
https://walkingtheworld.substack.com/p/why-i-walk-part-1

see also:

"Walking, Wittgenstein, and God
Without God, what exactly is there?"
https://walkingtheworld.substack.com/p/walking-thinking-and-god ]]]></description>
<dc:subject>chrisarnade walking 2022 tips howto urban cities</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f3134bb36686/</dc:identifier>
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</item>
<item rdf:about="https://kalebhorton.ghost.io/walking-through-los-angeles-when-the-crows-are-screaming-and-going-through-your-garbage/">
    <title>walking through los angeles when the crows are screaming and going through your garbage</title>
    <dc:date>2026-01-05T22:15:01+00:00</dc:date>
    <link>https://kalebhorton.ghost.io/walking-through-los-angeles-when-the-crows-are-screaming-and-going-through-your-garbage/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m going full nomad lately; while I still have a place to sleep in Los Angeles, I should see more interesting sights than the same few chunks of Burbank I turned into a routine through complacency. I’ll just point the car somewhere, go to a new town, and walk. I walk a lot. There’s an immense therapeutic benefit to it. You’re taking in and processing new visual stimuli, you’re a stranger, and when you’re walking you’re not doing nothing. And doing nothing will kill you.

One consistent thing this time of year is that there are crows everywhere. I spend a lot of time thinking about crows. They have the most obnoxious vocalizations of maybe any animal, they’re aesthetically unpleasant and feel like a harbinger of death, and they know when they’re bothering you and they enjoy doing it. Drives me crazy how well they’ve adapted to LA. I saw one just this week going through a garbage can, methodically picking items out of it one by one and tossing them on the ground, looking for foodstuffs. It was making a horrible mess, a mess you’d normally associate with humans. They’re such a pest, and the worst part is you have to respect it. They’re fat and happy and they thrive. They’re annoying in a way that suggests profound intelligence. If they could get around to inventing money, they should get tickets for littering. Treated like equals. I have met crows that should be in jail. There’s one in my neighborhood that seems to have a problem with me personally. They’re my favorite bird.

The job search continues to be a source of constant despair, which is part of why I walk so much. There are so many dangerous lunatics in this town with full-blown jobs, and here I am walking around Whittier all damn day thinking about crows. The tough part is there’s so much more to life than this, and I used to have it, I have personal experience with it. I’ve had a taste. What an annoyance to have known.

Keeping my chin up though. Got my Associate’s from my community college in the woods, trying to get my Bachelor’s from my regular college over by Bob Dylan’s house. Apply for a million things a day. I’ve been filling out so many job applications I even get rejections sometimes. They’ve been funny lately. A tutoring service said “we are never going to need tutors in English or history.” A temp agency said I could never get a clerical job because I don’t have any clerical experience. A gin bar downtown said they thought I’d get a better opportunity too fast. Lady, listen to me closely: you are mistaken. You could not be more mistaken.

In negative moments, I think about getting an old shitbox Westfalia van and just living on the road. In positive moments I remember I wouldn’t know how to fix it if it broke and it’s way too hot in Arizona.

For some reason I keep running into dudes who want me to ghostwrite their autobiography. They always think they used to be cocaine gods, living lives of danger and intrigue. They’re always confessing to crimes that sound like episodes of half-remembered ‘80s cop shows. They’ve all had knives thrown at them, they’ve always been shot at by a captain of the Armenian mafia, they were all gun-runners in Beirut. I always listen to their stories because what else am I doing besides listening to some comedian on Maron talking about doing panel? It’s still a distraction and I still need it all the time and the internet doesn’t work for that anymore because it’s dead.

Just trying to hold out hope. Tomorrow I’m gonna get in my car again and go to I dunno Pacoima and I’ll probably see some kid in a park somewhere who has the confidence to think he’s gonna have a rap career and I’ll ask who his favorite rappers are and he’ll only be able to name like two and it’ll be fine and then I’ll see a hundred crows eating potato chips out of the gutter somehow acting like they own the place."]]></description>
<dc:subject>kalebhorton losangeles crows 2025 burbank walking work jobs employment whittier unemployment pacoima</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:e1f0e752e250/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=--832LV9a3I">
    <title>Keep these Stupid American Trucks out of Europe - YouTube</title>
    <dc:date>2025-11-30T21:21:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=--832LV9a3I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["American SUVs and light trucks are dangerous. We cannot allow them to come to Europe."

...

"Chapters
0:00 Intro
3:04 US cars are dangerous
4:29 Mutual recognition 
5:33 EU cars are safer
9:55 People walk in Europe (unlike the US)
20:13 Who benefits from this?
11:52 The US can't be trusted
12:32 Conclusion
13:15 Outro, Patreon, and Nebula

Corrections
8:30 To be clear: the EU Motor Vehicle Type Approval process is less stringent than the Euro NCAP process, but "type approval" is still required BEFORE going to market"]]></description>
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<item rdf:about="https://freddiedeboer.substack.com/p/fear-is-the-heart-of-all-bad-things">
    <title>Fear is the Heart of All Bad Things - Freddie deBoer</title>
    <dc:date>2025-11-17T17:30:54+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/fear-is-the-heart-of-all-bad-things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["when you choose to drive your kid to school instead of letting them walk or take the bus, you're endangering them"

...

"At the heart of all this is an American identity forged around the idea that danger is omnipresent and must be fought with constant vigilance and personal sacrifice. Safety becomes less about actual outcomes and more about performing the role of the good, ever-concerned parent. But when emotion and optics take precedence over evidence, we create exactly the harms we claim to be preventing. Luxuriating in fear that way feels responsible; the reality is anything but."

[See also (referenced within):

"Why Car Lines Shouldn't Exist: Why car line culture is terrible for kids and families, why mom-shaming is a real problem, and how to end this madness." (Shane Trotter)
https://shanetrotter.substack.com/p/why-car-lines-shouldnt-exist

"Our Panics, Ourselves:Richard Beck’s new book on the moral panic over child abuse in the 1980s." (Rebecca Onion)
https://www.bostonreview.net/articles/rebecca-onion-richard-beck-we-believe-the-children/ ]]]></description>
<dc:subject>children fear safety school schooling 2025 freddiedeboer walking independence overprotection transportation schools parenting shanetrotter traffic buses publictransit us culture society media irrationality rebeccaonion childhood eulabiss</dc:subject>
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<item rdf:about="https://podcasts.apple.com/us/podcast/werner-herzog/id1436346407?i=1000637357339">
    <title>Werner Herzog - City Arts &amp; Lectures - Apple Podcasts</title>
    <dc:date>2025-11-14T06:18:47+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/werner-herzog/id1436346407?i=1000637357339</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, legendary filmmaker Werner Herzog. He’s made over 70 movies – most of them documentaries like Fitzcarraldo, Aguirre, the Wrath of God, and Grizzly Man. Herzog’s style is so distinctive that his films are recognizable practically from the moment they start. His techniques can be controversial too, when it comes to his unusual casting, and his own presence in the stories he’s telling.  On Oct 21st, 2023, Herzog came to the Sydney Goldstein Theater in San Francisco to talk to Caterina Fake about filmmaking and writing, including his new memoir, Every Man for Himself and God Against All."

[See also:
https://caterina.net/2023/11/02/what-would-herzog-do/
https://caterina.substack.com/p/what-would-herzog-do

"When I was given the chance to host the live on stage conversation with Werner Herzog for City Arts and Lectures in San Francisco I was barely able to believe it. What a gift! What a chance!

In preparation I did all the reading–and watching. I watched Aguirre Wrath of God again, marveled at Grizzly Man and the tragedy–or maybe triumph?–of Timothy Treadwell. I watched Stroszek again, my favorite Herzog movie. I watched a lot of his documentaries. Herzog is preposterously prolific, having made over 70 films, so if you can spend weeks in the dark, watching. (soon you can, at the PFA Herzog retrospective in November). They are all great; as Roger Ebert said, not a single one is compromised, even the failures are magnificent. I watched the video of him getting shot while being interviewed for the BBC, possibly the most Herzog response ever: he looks mildly startled and looks up. “What was that?” he says, once again cheating death. He’s a pop icon and has played various villains in movies and TV, including in Jack Reacher. He’s been in The Mandalorian and The Simpsons, and my favorite of his roles: the downcast voice of a heartbroken plastic bag, who’d lost his “creator”, the woman who first brought him home from the grocery store. 

Herzog has also written books and poetry. He’s said that he thinks he will be remembered more for his writing than his films. Films are the voyage, he says. But writing is home. He’s just written a memoir, Every Man for Himself, and God Against All, which is what we would be talking about, in San Francisco, soon. His publicist said: don’t ask about his films. Talk about his memoir, his books and his writing. OK. 

The memoir was everything I’d hoped: ecstatic truth, the wisdom of the snake; the exhilaration of getting shot at and missed, episodes of arrest and detention, rule-bending and working around the obstacles endlessly presented by bureaucrats and uniformed underpersons. Mike Tyson appeared unexpectedly. A Caliban on the island. There was a paean to the Oxford English Dictionary, the actual, physical, 20 volume set, which he thinks of as one of the greatest cultural achievements of all time. I agree! There’s more charm and sweetness than you’d expect from this sometimes gruff Bavarian man of the mountains, the tundra, the jungle, the desert. 

After spending much of a day with him, I left feeling energized and ready to undertake ambitious projects! I thought–knew!--what I was capable of. This is what it can be like being around people like him. I hope some of you got to hear the conversation in person, because in person is different than watching it on a screen. Herzog was insightful, warm and funny; he told stories uplifting and harrowing and often completely unexpected and at the end he got a standing ovation, which went on and on. It made him happy. And made me happy.

Now, a week later, I am thinking about that experience, and how people like Herzog make good and hard work possible for others. If what’s impossible for others is possible for him, it’s possible for you too. You can ask yourself, when you find someone worth emulating, what would they do? You could make a bracelet, and whenever you were about to give up, when things got too hard you could snap it against your wrist and remember who you meant to become, get your gumption going again. What Would Herzog Do? 

We know more about how Herzog creates his movies because he talks about it a lot, first of all, because he is asked about it, because the way he works is fascinating and sometimes extreme. There’s a lot of second hand material, accounts of the making of his work too. Les Blank made The Burden of Dreams, a documentary of the making of Fitzcarraldo, a movie about the nearly impossible and completely irrational desire of a man to move a steamboat over a mountain, to build an opera house, so Caruso could sing there, in the middle of the jungle. The making of the Fitzcarraldo was itself even more difficult than moving the steamboat, more difficult than the story it was meant to depict. It was like a reflection, phylogeny recapitulates ontogeny, Triple E Extreme Exaggerated Ekphrasis, a Portrait in a Convex Mirror (Ashbery’s), a movie bursting from the borders of itself. 

What Would Herzog Do? Maybe walk over mountains, machete his way through a jungle, travel to remote, icy, volcanic, idyllic or dangerous regions, consort with grizzly bears, be a ski jumper. He would definitely advise you to love deeply. Definitely advise you to read. When Herzog advertised his Rogue Film School in 2014 (which was already full by the time I applied, to my great disappointment) he published a reading list, which included The Peregrine by J.A. Baker, which he frequently recommends (it’s great, read it) The Poetic Eddas and The Conquest of New Spain, neither of which I finished. 

What Else Would Herzog Do? For one thing, he probably wouldn’t bother reading anyone else’s reading list, but stick with what interests him. He’d stick to his own vision. He doesn’t see very many movies, maybe 3 or 4 a year. Unlike Scorcese, who sees movies constantly. Herzog has conviction in his own filmic vision and he’s not influenceable. At dinner before our talk someone asked if he’d seen the Barbie movie, maybe just to bait him? Unsurprisingly he hadn’t seen it, but he had seen the ads. He assumed a sour expression. “Hell,” he concluded. “The world of Barbie looks like how I imagine hell.” 

It’s a privilege to be around brilliant people doing brilliant things, and gives you the energy you need to work on your own great undertaking, your own impossible project. So make the effort to go out and see amazing people like Herzog at places like City Arts and Lectures, 92nd Street Y, or  other places near you.  Read. Don’t get distracted by meaningless tripe. Don’t fight for prizes not worth winning. Follow through, get it done, persist, learn to pick locks and walk long distances. Be strong, be smart, brush you teeth, be kind, work hard, be loving, be you, be beautiful. Brush your teeth? It’ll make sense when you listen to the conversation."]]]></description>
<dc:subject>2023 wernerherzog caterinafake walking reading film filmmaking projects howwework poetry writing howwewrite jabaker</dc:subject>
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<item rdf:about="https://walklistencreate.org/2025/11/12/walking-in-supermarkets/">
    <title>Walking in Supermarkets – walk · listen · create</title>
    <dc:date>2025-11-12T18:51:40+00:00</dc:date>
    <link>https://walklistencreate.org/2025/11/12/walking-in-supermarkets/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Annemarie Lopez visits her local supermarket and reflects on unheroic everyday walking."]]></description>
<dc:subject>walking supermarkets everyday 2025 elizabethfisher elliottgould robertaltman ursulaleguin ursulakleguin marcaugé non-places nonplaces supermodernity modernity anonymity micheldecerteau everydaylife consumption shopping clarequalmann donnaharaway annemarielopez détournment</dc:subject>
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<item rdf:about="https://www.patrickrhone.net/16673-2/">
    <title>Rhoneisms</title>
    <dc:date>2025-11-11T20:21:47+00:00</dc:date>
    <link>https://www.patrickrhone.net/16673-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thought: Some say they want walkable neighborhoods and 15 minute cities.

They also tend to want to work from home, DoorGrubDash meals, order from Amazon, stream all the things, and basically do anything but actually support things they should walk to.

Walkable cities start with leaving your house."]]></description>
<dc:subject>patrickrhone walking urban urbanism 2025 delivery deliveries doordash grubhub amazon cities civiclife life living community cohesion</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c4474c2502e9/</dc:identifier>
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<item rdf:about="https://mbird.com/everyday/the-glory-of-the-ordinary/">
    <title>The Glory of the Ordinary - Mockingbird</title>
    <dc:date>2025-11-06T19:08:15+00:00</dc:date>
    <link>https://mbird.com/everyday/the-glory-of-the-ordinary/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Not long ago, I was sitting on my couch in my apartment in the middle of New York City, scrolling through endless videos on my phone. The afternoon sun snuck in through my window and reflected on the screen I had been staring at for an hour. As video after video of both strangers’ and friends’ lives swept by on a digital stream to nowhere, I found myself transfixed, gazing on in raptured interest. Each clip, each sliver of film, gave me a peek into the fascinating moments countless others were currently living around the world. A large portion of the videos were people in interesting places doing interesting things — a romantic vacation to Europe with their significant other, a gourmet meal at a new restaurant with friends, a red carpet event with a celebrity sighting, a breathtaking hike in a national park.

I looked up from my phone and out my fifth story window that looked across the sprawling metropolis that is Manhattan. I sighed as I remembered that New York City was the greatest city in the world, filled with the greatest food, art, and entertainment the world has ever known, just on the other side of my front door. And here I was, in the middle of it, sprawled on my couch, where I had been for a week, more or less. I thought back over my week to all the places and things I had done and realized how un-Instragrammable my life had become.

I had taken a couple of walks on my usual path through Central Park, gotten a tea at my regular boba spot, sat on a different couch in my friend’s apartment like I always do, and seen a movie with my friends at the same theater we’ve been going to every week for five years. A twinge of both depression and guilt rushed over me as I contemplated the juxtaposition between the videos of people adventuring to fascinating places and doing amazing things and the very predictable life I was living, even in the middle of New York City. It’s not that I don’t have a good reason that my list of regular places is small — cities are very expensive, and as a writer/creative, I work from home. But the real truth is, I go to the same handful of places and do the same handful of things with the same handful of people because I like it, and I feel bad about that.

We currently live in a dystopian age where lives are no longer lived; they’re performed, they’re filmed, like little movies or reality TV shows for the world’s entertainment. The more interesting the show and its characters, the more comments, likes, and engagement. Some people actually make a living out of this digital life performance, but many of us do it for free. And if there’s something that we’ve all learned, whether we’re digital performers or scrolling viewers, it’s that the all-powerful algorithm will bless better, bigger, more interesting content.

This means we aren’t just exposed to the lives of the rich and famous celebrities thumbing through a magazine in the checkout line, stars that we can contextualize as “other” than us and not objects to compare our lives to. Now we are exposed to thousands of “normal” people, even our friends, who all seem to be living exceedingly more interesting lives than we are, often marked by the seemingly endless amount of fascinating places they go, the activities they take part in, and the cool people they do it with.

As a result of this algorithmically influenced phenomenon, we have now begun to associate a good life with one that is filled with a never ending succession of new places, notable activities, with novel people. But is that the truth?

Just a few years ago, during a global pandemic when the entire world was stuck at home, in need of entertainment to fill up some of the endless hours inside, I decided to use some of my time to go back through and watch some of my favorite sitcoms from years past. I did this because, first, sitcoms have many episodes spanning many seasons to take up time with, and second, I love the genre of sitcom, a beautiful combination between live theater and film that culminates into a fantastic vehicle for great characters, witty dialogue, and simple but engrossing narratives. And I’m not alone in my love for sitcoms. While there are fewer now, they’ve been one of the most consistently beloved, watched, and culturally connective programs on television, stretching back decades and decades to shows like I Love Lucy, The Dick Van Dyke Show, and The Mary Tyler Moore Show, all the way up through Seinfeld, Frasier, and Friends in the ’90s, to How I Met Your Mother, The Big Bang Theory, and The King of Queens in the early aughts.

As I sat there on my couch in my tiny New York apartment, watching episode after episode of these beloved shows, something struck me. All of these shows take place in a small number of very normal locations: an apartment, an office, a home, a school, a coffee shop, or a bar. And not just occasionally — no, the entire series, countless episodes and numerous seasons of any particular show, would take place in just a couple of non-exciting, non-cool, places. What’s more is that they revolved around the lives of normal people — a delivery person, a psychiatrist, a struggling artist/writer, a stay at home mom.

[video embed]

With this realization, suddenly my entire definition of what a substantive and interesting life could be shifted. These shows were stories about normal people, doing normal things in normal places. They didn’t scoff or condescend at the normalcy; they reveled and celebrated it, revealing the beauty and value of what my friend Joseph calls “the glorious ordinary.”

As a culture now steeped in modernity, we have tacitly come to accept a definition for what a “good” or “interesting” life looks like. An unrealistic and even undesirable image constructed almost entirely from social media and peer pressure that says interesting lives are a never-ending series of stimulating new experiences, places, and people. But as I watch these sitcom series, ones that have captured the hearts, eyes, and souls of countless millions for almost one hundred years, I realize that these shows connected to us in such a meaningful way not in spite of the simplicity of the setting they took place in, but because of it.

These shows gave us a vision for what truly meaningful lives actually looked like. Lives that were filled with joy, connection, and love that occurred entirely in the midst of the ordinary. They told us that a meaningful life can and does take place in the normal places, with the normal people, doing the normal things in the places in which we all already dwell. Instead of explosions, car chases, exotic locations, and fancy parties, they showed us laughter in living rooms, deep conversations between friends on a couch, meals around the family table, births, deaths, arguments, falling in love. We see this celebration of beautiful lives lived in “normal” circumstances not only in sitcoms, but in some of the greatest written works ever penned. Living in New York City and working as an actor has allowed me to study, perform, and view some of the greatest plays ever written, and what’s stunning is just how many of those plays, written by the greats like Shakespeare, Chekhov, and Wilson, take place in a single everyday room. Even some of the greatest plays of Shakespeare take place in nothing more than rooms of a home. But for the ultimate example of a rich life, well lived in the context of normalcy, we need look no further than Christ, who changed the entire course of history, and yet spent most of his adult life in his hometown as a working carpenter, having conversations on hills with local fishermen.

The Apostle Paul wrote, “Make it your goal to live a quiet life, minding your own business and working with your hands.” In the handful of decades I have wandered this earth, I have been blessed enough to experience much of what this world has to offer. I’ve traveled around the world, dined in five-star restaurants, hung out with celebrities, gone to fancy parties, walked red carpets at film premieres, sat on top of mountains, sailed across seas, and had my fifteen minutes of fame — and I’m thankful for each of those experiences. But no matter what I do or where I go, I find my heart doesn’t long for those short-lived, flash-in-the-pan experiences that look good on social media or in movies, but rather it hungers for the things I know to be ultimately satiating. The basic human experiences like eating a meal with my family in my childhood home, taking a walk with my wife on the path we always take, having a deep conversation with my friend in his apartment, going for a drive and singing at the top of my lungs to my favorite songs — these are the moments that make life full, beautiful, and worth living. They are ordinary, but gloriously so.

We all will find ourselves with the occasional wave of discontentment when surveying the oft dreary monotony of our everyday lives. We will scroll and see pictures and videos of both celebrities and friends living what seem to be the newly agreed upon definition of a “good life” and feel we are missing out or wasting the short time on this earth caught in a soft cage of mundanity. But take heart and turn on an episode of your favorite sitcom to remind yourself, the most valuable and beautiful moments of your life will happen right there where you are, doing what you do, with the people around you now — in the midst of the glorious ordinary."]]></description>
<dc:subject>nathanclarkson everyday mundane mindanity 2025 attention ordinary ordinariness nyc walking online algorithms pandemic covid-19 coronavirus sitcoms instagram socialmedia life living small slow interestingness simplicity place connection joy happiness love normal normality experience monotony</dc:subject>
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<item rdf:about="https://kottke.org/25/11/every-tree-can-be-a-buddha">
    <title>Every Tree Can Be a Buddha</title>
    <dc:date>2025-11-03T21:09:45+00:00</dc:date>
    <link>https://kottke.org/25/11/every-tree-can-be-a-buddha</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image:

"misty & lush tree-covered hills recede into the distance"]

I began at the end. The Chōishi-michi pilgrimage route is an amazing 12-mile trail that winds its way up through the forest from the Jison-in temple in the town of Kudoyama in the valley to the Danjo Garan temple in the town of Kōyasan in the mountains. The origins of the trail date back to the founding of Kōyasan as a center for the esoteric Shingon school of Buddhism by Kūkai (aka Kōbō Daishi) in 819 CE. Legend has it that Kūkai used the trail to visit his mother; ever since, for some 1200 years, Buddhist faithful have been using the Chōishi-michi to worship in sacred Kōyasan. I was going to follow in their footsteps, for my own ends.

To climb up a mountain like a proper pilgrim, you need to start at the base. Seeing as my lodgings were already in Kōyasan, my journey began by a) catching the bus down a winding forest road; b) where I boarded a cable car for the ludicrously steep journey down to Gokurakubashi; c) where I got on an extremely local train; and d) finally disembarked at the Kudoyama train station and walked to the starting point. One hour and 30 minutes after I’d left my guesthouse, I stepped through the gate of the Jison-in temple. Now all I had to do was climb the entire 4100 feet of elevation back to where I’d started.

[image:

"a stone marker standing in a forest"]

When establishing the Chōishi-michi some 1200 years ago, Kūkai marked the route with wooden guideposts, one every 109 meters. You don’t want your pilgrims getting lost — how are you going to find eternal salvation if you can’t even make it to the temple? The markers were replaced with more sturdy stone gorintō in the late 13th century. 180 of these stone markers are situated along the route from to Jison-in to Danjo Garan, along with another 36 markers from Danjo Garan to the Mausoleum of Kōbō Daishi in the Okunoin Cemetery. In the spirit of wayfinding, perhaps a map of my there-and-back-again route would be useful:

[image:

"a map of the route I took down the mountain and then back up"]

———

I was thankful for the frequent stone markers as I’d gotten a little lost on my hike the previous day. I was traveling on — or I was supposed to be traveling on — the Nyonin-michi pilgrimage route (Women’s pilgrimage route) and doing pretty well when I took a wrong turn right near the end.

This particular trail, though popular, wasn’t on All Trails and markers were sparse, so I was doing a lot of pinching & zooming of Google Maps and a PDF I downloaded from the internet. The trail curved right and I stayed straight, wondering why this bit of the trail was a little less blazed than the rest of it had been, and I popped out into the backyard of a temple. Oh no, I thought, I’m not supposed to be back here; only monks are supposed to be back here. I’m offending so many ancestors right now.

[images:

"two photos, one of a pair of Buddhas atop gracestones and the other a Buddha wearing a jaunty cap and bib"]

More pinching and zooming — ok, there’s a road off to the northwest. I set off and walked by what looked like some recent graves? The ancestors: so mad right now! What a disgrace of a pilgrim I am. I found myself crouching as I walked almost on tiptoe, trying to evade detection — even though the Buddha surely knew where I was and what I’d done. The road was just where the map said it would be; I slipped through a gap in the fence and followed it downhill for a quarter mile, not entirely sure I wasn’t still in a restricted area.

I came up on the other side of the temple and realized I’d stumbled into the backyard of Kōbō Daishi’s Mausoleum, where Shingon founder Kūkai entered into eternal meditation in 835 CE, aka one of the absolute holiest places in all of Japan, aka I am in deep, deep shit with the ancestors. Abandoning my plans for lunch, I entered Okunoin Cemetery through a proper entrance and made my way to the mausoleum. Wishing to make amends, I bowed at every bridge and threshold where everyone else was bowing and threw some coins into the saisen box. Many of the people around me were quite emotional about being there. The whole atmosphere just felt good, peaceful, numinous.

———

[images:

"a path through a forest of tall trees, with a stone marker on the right side of the path"

"a path through the forest filled with tangled roots"]

Ok, back to the Chōishi-michi, the big 12-miler. The first few miles felt almost straight up and then the trail leveled off for a while. The weather was cool but humid, so I hiked in shorts sleeves, sweating. It rained intermittently. Fog crept up the mountainside. I hiked though persimmon orchards; they’re in season right now. Small stands sold oranges & persimmons on the honor system. The path was well marked, not only with the stone gorintō but with well-placed signs in Japanese and English pointing the way to Kōyasan.

[images:

"a path through a forest of tall trees"

"a path through a forest of tall trees"]

Walking the narrow path between the forest’s tall evergreen trees felt like entering a European cathedral with a towering vaulted ceiling. A bamboo forest earlier on the hike had a similar feeling; spaces such as these make you look up and feel whatever power or force or presence you believe in. You feel small and big all at once. The forest: unbelievably beautiful.

[image: 

"a path through a forest of tall trees"]

I heard voices through the trees and then the crack of something — was that a golf ball? Am I hiking through a golf course? The trail came to a clearing and lo, the tee for the 13th hole. The path also passed by vending machines, crossed roads, and zagged through tiny towns. The modern world, built up around this ancient trail.

I stopped for lunch around the halfway point: a sandwich, apple & custard pastry, and a small can of consommé flavored Pringles procured the night before at FamilyMart. FamilyMart is one of the big three convenience stores (konbini) in Japan — the other two are Lawson and 7-Eleven. Before you come to Japan for the first time, everyone tells you how amazing the konbini are: “You’re not going to believe this, but…” And then you get here and damn, they were right. The consommé Pringles were delicious.

After lunch: one foot in front of the other. Pilgrim mode locked in. Maybe I should become a monk, I think. I’m pretty good at being a pilgrim, the hiking part of it, I mean. I’m fine being alone with my thoughts. The clothes look comfy. I could be a monk with the internet at the center of my practice. Hours spent doomscrolling is kind of like meditation, right? It’s certainly a flow state of sorts, like the blood gushing from the elevators in The Shining. I’m into aesthetics. And I— oh, it’s ascetic? Ah. Maybe I’ll just stick to my secular life then.

[image:

"a stone marker standing in a forest"]

Another stone marker. Another 109 meters. Keep going. I pass one every 90-100 seconds or so. Early on, the markers flew by; I didn’t even notice some of them. Now I’m searching them out ahead, peering up the slope I know (via All Trails) steepens sharply right at the end. Is this is the last one? No. But keep going. It’s damp, the rocks are wet. An inch of moss covers everything save for the well-worn pilgrimage path. It feels like a rain forest. Another stone marker. Another 109 meters. Keep. Going.

I sense the top of the hill — something about the light changes. I see a guardrail ahead. Emerging on the side of the road, I cross it and make for the Daimon gate, the traditional entrance into town. On the threshold, I bow deeply. Stepping over, I pump my fist in the air — I’ve made it back to Kōyasan.

———

A weary pilgrim deserves a hot bath. My guesthouse is a further few hundred feet. The woman who runs it is very nice and a little kooky; I like her. After the sacred backyard debacle the other day, I told her about all the ancestors I’d offended. She chuckled and told me, the ancestors, they don’t mind so much. She cooked me breakfast (delicious, nutritious) every morning — you don’t look like a tofu person, she said, eyeing me. Correct.

On my last morning, I asked her about a bunch of boxes stacked on a table. I have an interest in incense, she said. Apparently it’s quite involved and the most skilled practitioners are equal in expertise to those who do the chadō tea ceremony. She opened one of the boxes and showed me a very expensive twig of charcoal, which is so special that they sell it by the stick. When the charcoal burns, it does so purely, without giving off any gases or sparking or spitting. Afraid she’s trapped me into politely listening to her going on about her hobby, she checks in: are you actually interested in this? My turn to chuckle; personally & professionally, I’m interested in all sorts of things, even fancy charcoal.

The guesthouse has a kick-ass bathtub, deep and quick-to-fill. My host keeps a selection of bath salts and I select a yuzu one. Tired but happy and fulfilled, I soak a long while, easing the pain in my aching feet & back, the yuzu scent filling my pores.

———

After bathing, I set out to finish my journey. I’d previously walked the length of town to the Okunoin Cemetery and back a couple of times, but I wanted to do the whole thing in one day: from Jison-in temple to Kōbō Daishi’s Mausoleum at the far end of the cemetery, a proper pilgrimage. Well, not quite proper…because I was tired from my hike, I caught the bus instead of walking. The quest is the quest, whatever it takes.

[image:

"a stone path through a cemetery with very big, tall trees"]

Okunoin Cemetery is one of the most breathtaking and magical places I’ve ever been. Imagine a redwood forest like Muir Woods with Buddhist temples and a 1200-year-old cemetery with tens of thousands of faithful buried in it. The soaring trees create that cathedral effect and even an atheist like me can’t help but feel holy in the presence of so many souls, including Kūkai/Kōbō Daishi himself.

I hopped off the bus and started into the cemetery. Night had fallen and it was quite dark; should I have brought my headlamp? Ah, no need…the way is lit by hundreds of lanterns lining the path at about shoulder height. There are also some brighter, taller lights, a concession to safety I suspect. They’re the wrong temperature though, a rare misstep in a country with an unrivaled collective attention to detail. Whereas the lanterns glow with a pleasant amber light, these safety lights are a cold, garish blue, a color as harsh to the eye as the word “garish” (or “harsh” for that matter).

[image:

"a black and white photo of a cemetery path at night. at the far end, a person's silouette is seen against some stairs"]

Aside from a few other people, I’m the only one here at this hour. Why are my shoes. So! LOUD!!? Each footfall echoes about the whole place and the crunch of the sand on the wet pavement under my soles is deafening. Once again, I am disturbing the ancestors. I try to walk quieter but somehow that’s even louder? How is anyone supposed to be eternally meditating with all this racket going on? Definitely not monk material, neither me nor my cacophonous shoes.

What’s that noise?! Some kind of animal? Ok, I can still hear the faint sound of traffic on the nearby road and anywhere with automobile noise isn’t scary — dangerous perhaps, but not scary. I hear another noise, one that I can only describe as “probably bird but what if monkey?” Or maybe Ghibli monster? I gotta say, in case you didn’t know, Hayao Miyazaki sure nailed Japan. Hit it out of the park. Everywhere I go, I am reminded of his work: small food stalls, beautiful parks, tiny trucks, cute little train stations, forest paths — the just-so touches of Japan reflected and amplified by the meticulous and rich detail of Studio Ghibli’s work.

[image:

"a hatted and bibbed Buddha through a pair of trees in a cemetery"]

The cemetery oozes Ghibli energy; it is not difficult to imagine thousands of Miyazaki’s weird little guys hanging from every tree and lurking behind every gravestone. Buoyed by their benevolent presence, I make a full loop of the cemetery in the dark, all the way to Kōbō Daishi’s Mausoleum and back to the entrance again.

And then, not wanting to wait 25 minutes for the bus, I walked all the way back to my guesthouse again, stopping at a sushi place for dinner. When I poked my head through the door, there was one other customer, an old guy smoking a cigarette who gestured for me to join him at the communal table. A menu was produced; I ordered so much sushi. Baseball was on the TV in the corner — game 1 of the Japanese equivalent of the World Series. The old couple running the place brought me sake, six massive fatty tuna rolls, six even larger salmon nigiri, and a much larger bowl of miso soup than I was expecting. As the three of them chatted, we all watched the baseball and I finished everything they brought me. I’d walked a total of 17.5 miles and needed to replenish.

I rolled out of there around the 4th inning of the game, arigato gozaimasus all around, and limped the rest of the way back to the guesthouse with a full belly, full heart, and teeming mind — back to where I began, at the end, completely satisfied by one of the best, most fulfilling days I’ve had in a long time."]]></description>
<dc:subject>jasonkottke 2025 japan buddhism trees forests religion pilgrimages hiking kudoyama danjogaran kōyasan kūkai studioghibli hayaomiyazaki senses sensing experience spirituality kottke walking</dc:subject>
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<item rdf:about="https://daily.bandcamp.com/lists/soundwalks-album-guide">
    <title>Field Notes: A Beginner’s Guide to Soundwalks | Bandcamp Daily</title>
    <dc:date>2025-10-24T04:27:19+00:00</dc:date>
    <link>https://daily.bandcamp.com/lists/soundwalks-album-guide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1966, the musician and artist Max Neuhaus met with some friends on the corner of Avenue D and West 14th Street in Manhattan. He stamped the word “LISTEN” on their hands and led them toward the East River. Without a word, the group went past a humming power plant, across a rumbling highway, over a windy pedestrian bridge, and back through the busy Lower East Side. As a percussionist, Neuhaus worked with composers like John Cage, who integrated sounds from the outside world into their pieces, but he suspected that the audience was more intrigued by the shock of the unexpected than they were willing to consider the sounds on their own merit. Neuhaus repeated his walk for the general public in a series of “Lecture Demonstrations,” explaining that “the rubber stamp was the lecture and the walk the demonstration.” These walks were a way to open the ears of participants, to give aesthetic validity to a world that was sometimes noisy, chaotic, and overwhelming.

Neuhaus didn’t know it yet, but he was one of the first leaders of a soundwalk. In the 1960s, performance artists were questioning the constraints of institutions and increasingly taking their work to the streets, blurring the boundaries between art and experience. His “Listen” series evolved from a tradition of conceptual art in which scores were written to be performed by anyone at any time. Take, for example, these instructions from Yoko Ono’s 1962 Map Piece: “Draw an imaginary map. Put a goal mark on the map where you want to go. Go walking on an actual street according to your map.” Or Milan Knižak’s Walking Event, from 1965: “On a busy city avenue, draw a circle about 3m in diameter with chalk on the sidewalk. Walk around the circle as long as possible without stopping.” By adding the simple command to listen, Neuhaus transformed his participants into both performers and audience members at once, directing their attention to the sonic environment of their everyday lives.

The term “soundwalk” was not formalized until later, with the World Soundscape Project at Vancouver’s Simon Fraser University. In the late ‘60s and early ‘70s, R. Murray Schafer, Barry Truax, and Hildegard Westerkamp began studying noise pollution in their city, leading to the 1973 publication of the book and record set The Vancouver Soundscape. A key part of their research was the soundwalk, which Westerkamp defined as “any excursion whose main purpose is listening to the environment.” She goes on to instruct her readers how to become listeners: “Wherever we go we will give our ears priority. They have been neglected by us for a long time and, as a result, we have done little to develop an acoustic environment of good quality.”

Soundwalking exists at the intersection of art, field recording, urban studies, and acoustic ecology. Perhaps the most important reference point, however, is Pauline Oliveros’s practice of Deep Listening. Oliveros’s 1974 text Native succinctly describes the ideal state of a sound walker: “Take a walk at night. Walk so silently that the bottoms of your feet become ears.” This focus on mindfulness has attracted an increasing number of people to the discipline. A soundwalk is a chance to take our eyes off our screens and our headphones off our ears, a tantalizing opportunity in an increasingly distracted world.

Viv Corringham, a vocalist and sound artist who has been practicing soundwalks for 25 years, says that “soundwalks allow our busy eyes to take a break and relax their gaze; this encourages a different focus of attention, allowing everyday sounds of the place to resonate within us.” Since she began her own practice of soundwalking, Corringham has observed how the field has evolved as it has gained popularity. “The basics remain the same but new approaches have arisen, often rooted in environmental concerns or in ‘decolonial’ listening that questions dominant Western understandings of sound.” A soundwalk is fundamentally inclusive, yet also political: Anyone can participate, but the nature of that participation is determined by factors such as location, gender, disability, and many others.

This means that you, too, can start soundwalking, right now. “Just go outside and listen. Remember that you are part of the soundscape too,” Corringham advises. “Notice whether you can hear the sounds of your own presence. Through our walking feet, we can listen to the song of the journey, to traces of previous walkers, to stories from the earth, to echoes of ancient origins, and to our own memories and associations. The essence of a place is revealed to the feet that move through it and listen.”

Soundwalking is an embodied practice, historically experienced firsthand; if a specific walk were to be shared, it was usually through written instructions, maps, or in-person events. However, artists have increasingly incorporated recording into their soundwalking practice, finding exciting ways to share their own experiences through sound. Below is a selection of recordings that demonstrates the many directions that a soundwalk can take."]]></description>
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</item>
<item rdf:about="https://bureauforlistening.com/native-1974-human-2023/">
    <title>Native, 1974 (Human, 2023) | Bureau for Listening</title>
    <dc:date>2025-10-24T04:25:00+00:00</dc:date>
    <link>https://bureauforlistening.com/native-1974-human-2023/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Native, 1974, by Pauline Oliveros, as a Listening Walk, here extended by our own notes :

Native, 1974 (Human (title of piece with notes), 2023)
Take a walk at night
(or at any time or place unusual for you to take a walk (for example, during work, while shopping, alone as a woman, not on a path, etc., or take a walk with your eyes half-blinded by a veil).
 
Walk so silently that the bottoms 
of your feet become ears
(Feel how you  always already are listening through your feet, through your whole body)

Pauline Oliveros
Native, 1974

Take a walk at night. 
Walk so silently that the bottoms 
of your feet become ears. 


Published in Sonic Meditations. Baltimore: Smith Publication, 1974."]]></description>
<dc:subject>1974 paulineoliveros sound listening soundwalks walking senses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d9ba20e3a49f/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=1MUSqkcd7n8">
    <title>Walking around (most of) the Bay - YouTube</title>
    <dc:date>2025-10-22T17:37:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=1MUSqkcd7n8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I like walking around cities, and I try to do a big walk over Labor Day weekend. This year I did a VERY big walk, around almost all of San Francisco Bay."]]></description>
<dc:subject>walking attoparsec bayarea sanfrancisco via:subtopes 2025 infrastructure matthewdockrey fishdockrey cities urban urbanism maps mapping sidewalks osm openstreetmap</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.oaklandreviewofbooks.org/cassandra-at-the-abyss/">
    <title>Cassandra at the Abyss</title>
    <dc:date>2025-10-19T22:23:09+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/cassandra-at-the-abyss/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s something I remember: When I was 17 and had moved to San Francisco for my first year of college, I began walking at night. Miles and miles, for hours at a time, if one was keeping track. I was not keeping track. As soon as my roommates and the person I was dating and the rest of the world were asleep, I would put on my headphones, make my way out of our on-campus apartment, resist the urge to fully take off running and instead opt for chain smoking and walking so fast it felt like flight. Around the baseball field, circling circling circling, until I couldn’t take the repetition, and then head out down 19th Avenue and into the stillness of suburban San Francisco. I wouldn’t, couldn’t stop. 

It was very quiet and I never saw anyone else, barely any cars. Sometimes I would cry in a way that felt good, like letting off pressure. I often didn’t notice until the wind hit the wet sheen on my face. Miles and miles and miles."

...

"I walked too much in San Francisco, but I don’t walk like that in Oakland. I like to go down to the corner store by my house for a bottle of mineral water and to see the white cat that sleeps there. When the weather is right and the mood strikes me, I hike up the gradual hill of Claremont Avenue. On my lunch breaks, I watch as the houses get bigger, the redwoods break apart the sidewalks, and suddenly you’re in Berkeley. There is a park where you can see all of Oakland’s port, all the bridges, the hills of the city, the headlands. All of it looks good, but not, you know, Like That. You can stroll in that park at sunset, you can get a sandwich at the market nearby. After my car’s ignition got ripped out twice in two months, I would often go to a small brewery on San Pablo, then walk home in the waning twilight and take pictures of the shadows on all the plants."

...

"Yesterday afternoon while I was out walking, I noticed a hole in the pavement on the sidewalk. It was small, made with precision and deep enough not to see where or if it ended. I kept going, didn’t drop to my knees or attempt to liquefy or anything. But I did wonder what would happen if I went inside."]]></description>
<dc:subject>sanfrancisco walking 2025 elizabethfreeman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

"I started walking intently, as the writer Lori Waxman calls it, sometime during the pandemic in 2020. The pandemic forced us to radically limit our mobility to the most immediate surroundings. During that period my mind reverted to my childhood, when I was not allowed to leave the house unattended and was dependent of an adult to go beyond a few blocks. Stores and restaurants were closed, and even some public parks; no public transportation was available nor taxicabs. For many of us New Yorkers without a car, the only way to rebel against that imprisonment was to go out and walk through our neighborhoods. The activity became not only a form of exercise, but an attempt to improve our mental health.

Over the past five years this practice has deepened for me, leading to three realizations:


1. Movement and knowledge are inseparable; the act of going toward something generates its own kind of understanding.
2. Art is pilgrimage, and pilgrimage itself is a form of art.
3. Getting lost is not failure but a necessary and undervalued condition.

To survive as human beings requires the ability to move. Our earliest ancestors, 300,000 years ago, depended on hunting and gathering. Immediately, we can understand that this process of gathering is itself a form of learning—whether in a nomadic or sedentary community. The hunter or gatherer requires knowledge of the landscape, ecological systems, and the resources of their environment. What they observe must be shared and transmitted to their community, making this process of gathering an eminently social act.

Movement also connects to another kind of knowledge: spiritual knowledge—the knowledge of the pilgrim. As is well known, the principal reason that pilgrims walk the Camino de Santiago is spiritual, since the lessons gained suggest that difficulties and setbacks must be confronted rather than avoided.

But pilgrimage is not only an act of spiritual realization—it is also an act of knowledge. This is manifest in the Baroque period, ironically in the work of a Hieronimite nun who never traveled outside of the New Spain. I am referring to Sor Juana Inés de la Cruz’s masterpiece, Primero Sueño. In that poem, the narrator imagines her soul rising from her body while dreaming, at which time she is able to capture the totality of divine and human knowledge. But, it being a dream, this knowledge is also an illusion, and she wakes up with that realization.

In art, the way walking has been domesticated, if you will, is by turning it into an act of spiritual/touristic pilgrimage to specific sites.

The museum, often seen as a mausoleum, in other contexts becomes a kind of sanctuary or altar. The experience of visiting an artwork is a hybrid of tourism and spiritual pilgrimage.

Artworks in museums often undergo a double consecration. First, they become commodities, circulating through systems of value until they are enshrined as priceless treasures. Second, once housed in institutions, they acquire the aura of relics: objects to which we make pilgrimages. To stand before the Mona Lisa, for instance, is less an act of aesthetic contemplation than a ritualized performance — waiting in line, jockeying for a glimpse, documenting the encounter with a smartphone. As Benjamin suggested, the museum amplifies aura by staging artworks as sacred presences, and as Carol Duncan has argued, the visit itself functions as a civilizing ritual. Yet in the society of the spectacle (Debord), this ritual is commodified: tourism, ticket sales, and the circulation of selfies transform reverence into revenue. The museum pilgrimage becomes indistinguishable from a consumer experience, a sacred encounter repackaged as leisure.

It was precisely against this cycle of idolatry and fetishism that process-based art emerged. In Happenings, Kaprow shifted attention away from the object and toward the event; performance artists made the body itself the medium; land artists inscribed gestures into the landscape rather than onto a canvas. What mattered was not the relic but the act — the lived moment of participation, risk, or movement.

Walking as an art form crystallizes this ethos. Richard Long’s A Line Made by Walking (1967) turned the most ordinary of actions into a sculptural trace, reimagining the artwork as a fleeting imprint in the landscape. Hamish Fulton built an entire practice on the motto “no walk, no work,” treating walking itself as both medium and message, where the journey is the art. Francis Alÿs, in works such as The Collector (1991) or The Green Line (2004), extended walking into poetic and political registers, where the act of moving through urban space becomes a way of narrating history and conflict. Unlike the pilgrimage to the museum shrine, these works propose a pilgrimage without object: not a journey toward a sacred relic, but toward oneself. To walk as art is to recognize that the sacred lies not in commodities enshrined behind glass, but in the embodied act of moving through the world, where every step is both process and reflection, both artwork and awakening.

In other words: in museums, artworks often become sacred relics. We line up to see them, as if on pilgrimage — think of the Mona Lisa. But this pilgrimage is commodified: ticket sales, gift shops, selfies. The ritual of reverence is packaged as leisure.

Process-based art broke away from that cycle and shifted value from the object to the act. What mattered was the gesture, the event, the body in time.

My own practice has been guided by this spirit. For me, walking is also learning. It is not centered on an object, but it generates many forms: documentation, markers, narratives. The School of Panamerican Unrest was one such walk — a journey from Alaska to Tierra del Fuego, where each stop became a classroom, each encounter a lesson. The project was less about reaching an end point than about creating a living archive of dialogues across the Americas.

So when I walk, I walk to learn. The artwork is not a relic to be enshrined, but a process of exchange — a story that unfolds with every step.

Whenever I think of the act of getting lost, I often think about the Calzada del niño perdido (lost child Causeway) in Mexico City, a street whose name stems from a colonial-era story about an anonymous boy who got lost and was later murdered. The street is today part of the modern-era Eje Central Lázaro Cárdenas in downtown Mexico City.

While getting lost is often associated with anxiety and tragedy, being lost does not constitute failure. On the contrary, it can be the point. As we know, the Situationists sought it intentionally and celebrated it as the dérive—drifting through the city without direction, letting the streets themselves guide you. To lose the map is to let go of habit, to break from the familiar circuits of daily life.

Displacement, whether intentional or accidental, is deeply generative. When we are out of place, we see differently. The city rearranges itself. Our assumptions are unsettled. Suddenly, a side street, a fragment of conversation, a corner café becomes a revelation.

For me, this has always been central: walking is not about efficiency, it is about discovery. To be displaced is to be invited into new ways of perceiving, to reframe perspective and re-examine reality. It is in those moments of disorientation that the real work of art—and of learning—emerges. So walking also means accepting disorientation. Displacement—whether by design or accident—is productive: it unsettles our habits, shifts our perspective, and opens us to what we would otherwise overlook.

To walk, to learn, even to lose our way: these are not detours from art, but the very conditions for it. In displacement we reframe reality; in drifting we encounter the world anew.

For the artist, in particular being lost, more than constituting failure, is condition. To be dislocated, to stand at the margins, is to step into the role of outsider. Walking is our most direct instrument for this task, the line we draw across the world to register where we are and who we are becoming. Each step is a cartography of reality, a way of sketching our fragile bond with place and time.

And it is in the unease of this dislocation — the vertigo of not quite belonging — that some of the most meaningful works of art are made. For to be out of place is also to see differently, to sense more sharply, to discover what the familiar conceals. Walking teaches us that the shrine is not ahead of us, waiting in a temple or a museum. The shrine is the path itself, the movement, the detour, the drift. It is the moment of being lost, and the act of finding anew.

The peripatetic tradition—from Aristotle to Sor Juana, from psychogeography to contemporary art—reminds us that learning and creating are acts in motion.

I close with one last but important note:

In Maurice Maeterlinck’s The Blue Bird, two children set out on a long journey to find happiness. They travel through strange lands—of memory, of night, of the future itself. And when they return, after all that wandering, they realize the blue bird was at home the whole time.

Walking, too, is this kind of quest. We walk not just to get somewhere, but to lose ourselves, to dislocate ourselves, to let the world rearrange itself before our eyes. And yet, at the end, what we discover is not some distant treasure. It is the nearness of what was already here.

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
<dc:subject>pablohelguera pilgrimage 2025 form loriwaxman pandemic coronavirus covid-19 2020 walking mobility childhood movement knowledge understanding art arts moving caminodesantiago place museums artworks commoditization carolduncan guydebord ritual tourism walterbenjamin idolotry fetishism process happenings allankaprow bodies participation participatory risk richardlong francisalÿs hamishfulton relics objects acts time dialogue derive dérive situations situationist displacement reality dislocation aristotle mauricemaeterlinck happiness journeys quests sorjuanainésdelacruz drifting learning howwelearn psychogeography drift</dc:subject>
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</item>
<item rdf:about="https://www.lrb.co.uk/the-paper/v36/n06/laszlo-krasznahorkai/there-goes-valzer">
    <title>László Krasznahorkai, translated by George Szirtes · Story: ‘There Goes Valzer’</title>
    <dc:date>2025-10-10T17:04:38+00:00</dc:date>
    <link>https://www.lrb.co.uk/the-paper/v36/n06/laszlo-krasznahorkai/there-goes-valzer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My name​ is Róbert Valzer and I like walking, not that I have anything to do with the famous Robert Walser, nor do I think it strange that walking should be my favourite hobby. I call it a hobby but I accept – or rather I am prepared to entertain the fact – that where I live in this Central European country I am considered to be too unstable to be regarded as a normal person and that my hobby is not to be compared with other people’s hobbies. It is not a hobby, they claim, but a symptom of instability. That’s the word they use: instability. But they never tell me that to my face. They whisper it behind my back. That’s what they are constantly whispering: I can hear them perfectly clearly – there goes Valzer, he’s off again."]]></description>
<dc:subject>walking fiction stories 2014 lászlókrasznahorkai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>CITY LIGHTS LIVE! Chris Carlsson celebrate the 2nd Edition of &quot;Hidden San Francisco&quot; - YouTube</title>
    <dc:date>2025-10-03T04:42:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LCjaX0NlQNw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["City Lights and Shaping San Francisco celebrate the 2nd Edition of

Hidden San Francisco: A Guide to Lost Landscapes, Unsung Heroes, and Radical Histories
by Chris Carlsson
published by Pluto Press

Purchase the book at this link:
https://citylights.com/hidden-san-francisco-gt-lost-landscape

Hidden San Francisco is a guidebook like no other. Structured around the four major themes of ecology, labour, transit and dissent, Chris Carlsson peels back the layers of the city’s history to reveal a storied past: behind old walls and gleaming glass facades lurk former industries, secret music and poetry venues, forgotten terrorist bombings, and much more. Carlsson also delves into the Bay Area’s long prehistory, examining the region’s geography and the lives of its indigenous inhabitants before the 1849 Gold Rush changed everything.

This second edition includes new tours on the wild and natural parts of San Francisco that most tourists never visit, from Glen Canyon to Sutro Forest, as well as a new themed walk on the Summer of Love. There is also a new introduction examining the devastating impact of the pandemic, as well as a mini-history of tech in the city, from the Gold Rush to AI.

Chris Carlsson is a San Francisco historian and award-winning tour guide. He directs ‘Shaping San Francisco’ – an impressive archive of local history, and co-founded the urban cycling movement Critical Mass in 1992. He is the author of four books, including novels and histories about the city. He has lived in San Francisco since 1978. To learn more about Chris’ work visit his website: https://nowtopians.com/

This event was originally broadcast on Thursday, July 24, 2025.

Made possible by support from the City Lights Foundation."]]></description>
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<item rdf:about="https://walklistencreate.org/2025/09/04/on-the-politics-of-walking/">
    <title>On the politics of walking – walk · listen · create</title>
    <dc:date>2025-10-01T02:55:12+00:00</dc:date>
    <link>https://walklistencreate.org/2025/09/04/on-the-politics-of-walking/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 walking babakfakhamzadeh marymarinopoulou grief solidarity resistance politics emergence nohadelhajj martamorenomuñoz robertyerachmielsniderman tomjeffreys violence injustice disconnection gaza india kenya greece us unrest literature beirut belgium connection place slow food cats buildings landscape landscapes climate climatechange extinctionrebellion environment climatecrisis ecology genocide ethniccleansing cemeteries rupture listening edinburgh care collaboration method ethic ethics walkingtours history memory storytelling place-based</dc:subject>
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<item rdf:about="https://walklistencreate.org/2025/09/11/tracing-the-world-on-radhika-subramaniams-footprint/">
    <title>Tracing the World: On Radhika Subramaniam’s Footprint – walk · listen · create</title>
    <dc:date>2025-09-30T20:24:31+00:00</dc:date>
    <link>https://walklistencreate.org/2025/09/11/tracing-the-world-on-radhika-subramaniams-footprint/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Radhika Subramaniam is Associate Professor of Visual Culture at Parsons School of Design/The New School in New York City where she was also the first Director/Chief Curator of the Sheila C. Johnson Design Center from 2009 to 2017. With an interdisciplinary practice as curator and writer, she explores crises and surprises as they emerge in urban life, walking, art and human-nonhuman relationships.
Subramaniam is currently also on the Grand Jury for the Marŝarto Awards.

Subramaniam recently published Footprint: Four Itineraries, probing the long history of the footprint’s manifestation in the human imagination.

WLC’s co-founder Babak Fakhamadeh managed to grab a copy. What follows is a review of the book.

---

Radhika Subramaniam’s Footprint: Four Itineraries is less a book about feet than about the entangled histories, metaphors, and politics that follow in their wake. A hybrid, sitting between critical essay, travelogue, and cultural history, Subramaniam’s text is structured around four “itineraries”, Stride, Pace, Trudge, and Track. The book meanders across centuries and continents, from fossilized prints at Laetoli to the boot marks on the moon, from Hopi migration routes to border patrol surveillance, from urban pavements to the abstracted “carbon footprint.”

The style is deliberately hybrid. Subramaniam writes as cultural historian, essayist, and walker, moving fluidly between anecdote, archival fragment, and critical reflection. Not unlike a stream-of-consciousness, or, indeed, a meander through walking history.

The text resists linear argument, instead wandering as a footprint might: partial, overlapping, ambiguous. Though this results less in the narrative following a strong directional arrow, at times risking a certain diffuseness, the deliberate “meandering” resists closure and mimics the uncertain traces of a footprint itself, and so, this looseness is also the book’s strength, mirroring its central claim; that footprints are not fixed imprints but mobile, paradoxical traces. They signify presence by absence, endurance by fragility.

The stories gathered here are pleasantly diverse. We encounter Mary Leakey’s discovery of early hominin prints, the Hopi injunction to “make footprints” as a covenant with land, the mutilated bronze foot of conquistador Oñate, and the social-distancing decals of the New York subway. Subramaniam shows how each instance carries its own politics; of colonial conquest, imperial ambition, resistance, memory, or ecological precarity. The contemporary metaphors of the ecological and carbon footprint come under particular scrutiny: originally conceived as a pedagogical tool to measure resource use, they have been co-opted to individualize responsibility while masking corporate and systemic drivers of climate crisis.

The book sits comfortably within a larger body of work at the intersection of walking arts, environmental humanities, and notably, postcolonial critique. Hints of Lucy Lippard, Rebecca Solnit, and Guy Debord bubble to the surface. Subramaniam adds to this canon by insisting that the footprint is not only metaphor but material, a lived encounter between body and ground, always, and already, political.

What remains after reading is an ethical provocation. If footprints have long been signs of occupation, capture, and extraction, might they also model a different kind of relation, one that consists of light, and shared, and generative? Subramaniam suggests that to walk is to draft and redraft collective paths, to refuse the monumentality of conquest in favor of the fragile trace. Footprint is, in the end, a meditation on how to inhabit the world otherwise: to tread, if not without impact, then with care."

[See also:

"Footprint: Four Itineraries"
https://walklistencreate.org/book/footprint-four-itineraries/

"Footprint: Four Itineraries takes the footprint for a walk—to the Himalayas, the American southwest, to Arnhem Land and the moon, through monuments, prehistoric sites, sidewalks, and paintings, alongside artists, cartographers, surveyors and trackers, hesitating at revolutionary debate and solitary reverie, waylaid by war and land claims, sniffing greed and curiosity, recognizing both falter and fit, moving stealthily and boldly—to test the lasting power of this very material metaphor.

The book probes the long history of the footprint’s manifestation in the human imagination. It has signified mobility and occupation, inquiry and imperialism, absence and presence, trace, and impact. As a metaphor, it is ubiquitous and oddly self-evident. The book’s four itineraries trace the contradictory forensic evidence offered by the footprint’s many appearances. How can that dreamy print of your sole in the sand also signify that the planet is dying? When did a lithe mobile residue become a leaden artifact? Stories of footprints testify to colonialism, imperialism, and suppression but woven through them are histories of desire, persistence, mobility, and of lightness. In taking you on a series of journeys to understand why and what it means for our future, Footprint: Four Itineraries asks if it is yet possible to tread lightly on our world."]]]></description>
<dc:subject>radhikasubramaniam babakfakhamzadeh 2025 walking history metaphor footprints politics alinear non-linear markleakey colonialism imperialism resistance memory ecology precarity lucylippard rebeccasolnit guydebord occupation capture extraction ethics care impact himalayas arnhemland monuments sidewalks paintings cartography maps mapping surveying tracking greed curiosity suppression lightness persistence mobility via:javierarbona nonlinear linearity</dc:subject>
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<item rdf:about="https://walklistencreate.org/">
    <title>walk · listen · create – Home of walking artists and artist walkers</title>
    <dc:date>2025-09-30T20:17:03+00:00</dc:date>
    <link>https://walklistencreate.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WLC has been bringing creatives in the field of walking together since 2018. We are the home of the Sound Walk September and Marŝarto Awards, and maintain the largest archive of walking art."

...

"walk · listen · create (WLC) is the home of walking artists and artist walkers, as well as Sound Walk September, the Sound Walk September Awards, the Marŝarto Awards, and Placecloud.

walk · listen · create operates on a plain that is bounded by sound, or audio, place, or location, and technology. Technology is not just mobile phones or computers, it’s also pen & paper, rocks, and anything that can be used as a tool.

We have a particular interest in sound walks, and walking writers. Curious as to what is a sound walk?

WLC was officially founded in 2021 as an NGO in Belgium, but we came together in 2019, around the implementation of the first Sound Walk September, itself a consequence of Sound Walk Sunday 2017.

Interested in supporting us? Learn how to work with us.

Home of walking artists

We catalogue the publications of artists who walk, and provide a place for walking artists to share their work, thoughts, pieces and events. walk · listen · create is maintained by Babak Fakhamzadeh, Geert Vermeire and Andrew Stuck.

Andrew Stuck conceived the idea of Sound Walk September, and has been a podcaster since 2008. He has met and interviewed scores of walking artists and sound walk creatives.

Babak Fakhamzadeh supervises the online platforms of walk · listen · create. Babak is a locative media creative and creates mobile solutions that help individuals to get lost.

Geert Vermeire is a key connector, and founder and convenor of Made of Walking. He has been making locative media, and sound walks in particular, for two decades.

Annemarie Lopez is a writer, walker, digital storyteller, and psychogeographer. She brings her experience as a journalist and editor to communications and social media promotion of WLC activities."]]></description>
<dc:subject>walking creativity art via:javierarbona babakfakhamzadeh geertvermeire andrewstuck annemarielopez sound soundwalks listening psychogeography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://craigmod.com/ridgeline/158/">
    <title>A Walking Man — Ridgeline issue 158</title>
    <dc:date>2025-09-03T20:37:53+00:00</dc:date>
    <link>https://craigmod.com/ridgeline/158/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The comic is about an (unnamed) man who walks. An extremely norm-core, middle-aged, dad-bod dude who walks. He seems to be in a heterosexual marriage with no children. In the very first chapter he and his (unnamed; sort of? named later? a childhood friend?) wife acquire a dog and name it Yuki (“snow”).

I love the stories in this book so much. They are a manual to life in broad panels. This book says: Look, this is all you need, just these few things. The man walks his middle-class suburban streets. It is safe. There is no violence here. People are taken care of. He walks without a phone, without distraction. He is present and controls his attention. He is happy to get turned around. He is polite and delighted by everyone and everything. A wayward football hits his head and knocks off his glasses. The children apologize profusely. He is not phased, this Walking Man. His glasses are now broken. He is astigmatic. The world is universally fuzzy. He walks with Yuki and Yuki gets excited about something. He puts on his broken glasses and sees a rabbit split into shards. He is betwitched by this. When he returns home his wife is shocked by the broken glasses. No, no, he says. Try them on. It’s fun isn’t it? And then with the glasses off, we see the fuzzy world through his eyes in a final panel and he says, It’s nice like this, too, for a little while longer."

...

"The Walking Man knows how to live. Walking, one day, he meets another man in the nearby forest. This man is a bird watcher. Take a peek? offers the man, who has a fancy bird-watching telescope. Oh! our walking man says, placing his eye to the eyepiece. He sees a bird. What bird is this, he asks? The old man tells him. Later the Walking Man walks to the library. He takes out a book about birds. He looks up the bird. Yes, indeed, this was the bird. And, oh, look at that — there’s another one I’ve seen around."

...

"Like this, we are shown, un-didactically what a good life can look like. A somewhat radical life, in many ways.

The Walking Man provides rules for all scenarios. If it begins to rain: Look up and close your eyes and feel the drops on your face. After a typhoon? Go out for a walk, remove your loafers to wade through puddles (yuck) and climb under fallen trees in your slacks. The dirt will be washed away. If you spot a rooster on a fence, climb up as Yuki barks at it, and give life a little rooster wiggle. If you find a dropped case of lipstick, pick it up and leave it on a bench. In the summer, as you carry home on your shoulders huge bamboo shades for your porch, enjoy the sweat — take breaks under bridges and in the forest — knowing that once installed, beer on your eaves in the shadows of that shade will have never tasted sweeter. Have a silent walking race with an old man with a cane. He’ll wait for you on the other side of the train tracks. Walk the narrow alley you’ve never before walked. Help the old woman find the shop she’s looking for. Buy Christmas cake for your partner and eat it at night together next to the swings in a park. Yummy. Yes, yummy. Meet a man fishing and have him tell you, Not catching anything is why I’m here. Get off your train one stop early and walk the rest of the way to work — marveling the whole way at how just one stop difference can rearrange the entire day."]]></description>
<dc:subject>walking life living slow small comics manga craigmod jirotaniguchi 2023</dc:subject>
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