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2018

Each Path is a Poem

SCS 01 2018
Brasilia - Federal District, Brazil
Portuguese

Sub-collection

Collective

Sub-collection · 23 items
Sub-collection

poetry

6 sub-collections · 198 items

Projection

Collection · 1 items
Sub-collection

sidewalks

Sub-collection · 4 items

Related

book

Take this one to bed

The poems in Antony Dunn's fourth collection explore the passions and tensions of how we live together – as neighbours, as families, as lovers, and as companions to our own various selves.

Antony Dunn
Sound walk

i did , four times

sound-enhanced poem

Mark Goodwin
book

Heart Stones

James Nash examines urban and seaside environments in a Yorkshire he has known through fifty years living in the North.

James Nash
book

Corrigenda for Costafine Town

RSL Ondaatje prize-longlisted collection published by Blue Diode Press, 2021. Poems in which the post-industrial landscape of England’s north-east  comes alive through its many contradictions – Brexit and EU regeneration grants, sacred and secular, concrete and visionary – and also finds wider resonance as a symbol of human fragility, humour and perseverance. The corrigenda referred to in the

Jake Morris-Campbell
Sub-collection

Collective

Sub-collection · 23 items
Sub-collection

poetry

6 sub-collections · 198 items

Projection

Collection · 1 items
Sub-collection

sidewalks

Sub-collection · 4 items

Related

book

Take this one to bed

The poems in Antony Dunn's fourth collection explore the passions and tensions of how we live together – as neighbours, as families, as lovers, and as companions to our own various selves.

Antony Dunn
Sound walk

i did , four times

sound-enhanced poem

Mark Goodwin
book

Heart Stones

James Nash examines urban and seaside environments in a Yorkshire he has known through fifty years living in the North.

James Nash
book

Corrigenda for Costafine Town

RSL Ondaatje prize-longlisted collection published by Blue Diode Press, 2021. Poems in which the post-industrial landscape of England’s north-east  comes alive through its many contradictions – Brexit and EU regeneration grants, sacred and secular, concrete and visionary – and also finds wider resonance as a symbol of human fragility, humour and perseverance. The corrigenda referred to in the

Jake Morris-Campbell
Sound walk
The post describes "Cada caminho é um poema (Each path is a poem)," an audioguided walk featuring poetic interventions by the Collective Group Transverso in the Southern Commercial Sector. Founded in 2011, the group engages in urban art and poetry through various techniques including stencils, projections, and performances in public spaces.

When the sight of the street “un-desensitizes” before the unexpected poem on the sidewalk, each corner becomes the opportunity of fate, the chance to find a dramaturgy, to discover new senses, to formulate new daily scenes.

We walk through the city no longer counting the minutes that flow from our wrists, but looking for poetry alive in the shared spaces. Therefore, we invite to participate in the experience “Cada caminho é um poema (Each path is a poem)”, a film talked over the streets of the Southern Commercial Sector, a stroll through the words of the collective Group Transverso, via an audioguided visit. The Collective Group Transverso was created in 2011 with the purpose of researching, developing and performing poetic interventions in the public space. Since then it has been working with urban art and poetry, from techniques such as stencil, “lambe-lambe, graphite, projection, performance, creation of monuments, among others.

audio 01

CC-BY-NC: cinemaurbana

audio 02

CC-BY-NC: cinemaurbana

audio 03

CC-BY-NC: cinemaurbana

audio 04

CC-BY-NC: cinemaurbana

audio 05

CC-BY-NC: cinemaurbana

Credits

Hosted by: Cinema Urbana e Coletivo Transverso

APA style reference

cinemaurbana (2018). Each Path is a Poem. walk · listen · create. https://walklistencreate.org/walkingpiece/each-path-is-a-poem/

pedestrian acts

By de Certeau: In “Walking in the City”, de Certeau conceives pedestrianism as a practice that is performed in the public space, whose architecture and behavioural habits substantially determine the way we walk. For de Certeau, the spatial order “organises an ensemble of possibilities (e.g. by a place in which one can move) and interdictions (e.g. by a wall that prevents one from going further)” and the walker “actualises some of these possibilities” by performing within its rules and limitations. “In that way,” says de Certeau, “he makes them exist as well as emerge.” Thus, pedestrians, as they walk conforming to the possibilities that are brought about by the spatial order of the city, constantly repeat and re-produce that spatial order, in a way ensuring its continuity. But, a pedestrian could also invent other possibilities. According to de Certeau, “the crossing, drifting away, or improvisation of walking privilege, transform or abandon spatial elements.” Hence, the pedestrians could, to a certain extent, elude the discipline of the spatial order of the city. Instead of repeating and re-producing the possibilities that are allowed, they can deviate, digress, drift away, depart, contravene, disrupt, subvert, or resist them. These acts, as he calls them, are pedestrian acts.

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