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SWS19 2016

Wandercast

1572958735.Robbie_Wilson_LudicrousPilgrims-Wandercast-e

Sub-collection

Walking Art

Sub-collection · 100 items

Wandering

Collection · 37 items

Related

Walking piece

Terminalia – Walking an Invisible Line

A walk along an invisible line… to celebrate Terminalia. Part of a project to walk the length Ordnance Survey ZeroZero eastings, setting off due south from my home in Gloucestershire to the grid line and initially heading west to Wales and the sea.

Kel Portman
Sound walk

Errer du point A au point B

In September and October 2019, the author walked 300 kilometers over 25 days following a basic route while embracing an attitude of mental and emotional wandering rather than strict itinerary adherence. The post explores the conceptual differences between wandering, roaming, and itinerary, highlighting wandering as a creative incubation process and an embodied state during the walking journey.

Sophie Cabot
Sound walk

Oslo Architecture Triennale 2019: Place Listening

Place Listening investigates how playful urban listening can reshape connections between people and their environments through workshops and an audio walk in Oslo’s ROM area. The project documents these sessions in a gallery installation featuring site-specific sound recordings that invite participants to explore contemporary urban experiences.

Eva Engeset
Sub-collection

Walking Art

Sub-collection · 100 items

Wandering

Collection · 37 items

Related

Walking piece

Terminalia – Walking an Invisible Line

A walk along an invisible line… to celebrate Terminalia. Part of a project to walk the length Ordnance Survey ZeroZero eastings, setting off due south from my home in Gloucestershire to the grid line and initially heading west to Wales and the sea.

Kel Portman
Sound walk

Errer du point A au point B

In September and October 2019, the author walked 300 kilometers over 25 days following a basic route while embracing an attitude of mental and emotional wandering rather than strict itinerary adherence. The post explores the conceptual differences between wandering, roaming, and itinerary, highlighting wandering as a creative incubation process and an embodied state during the walking journey.

Sophie Cabot
Sound walk

Oslo Architecture Triennale 2019: Place Listening

Place Listening investigates how playful urban listening can reshape connections between people and their environments through workshops and an audio walk in Oslo’s ROM area. The project documents these sessions in a gallery installation featuring site-specific sound recordings that invite participants to explore contemporary urban experiences.

Eva Engeset
Sound walk
No longer available
Wandercast, created by Ludicrous Pilgrim, offers episodic audio guides that encourage playful engagement with the environment, with Episode 4: Wet & Salty released in 2019. Each episode provides a unique playful focus and pre-wandering information to inspire listeners to explore familiar and unfamiliar places in new ways.

Wandercast, by Ludicrous Pilgrim, seeks to tweak our relationship with the world by highlighting its playful potential. New for 2019, it’s Episode 4: Wet & Salty!  Link direct to Episode 4 above

Wandercast invites you to adopt a particular playful focus, which is different for each episode, and to use these various ludic-tinted specs to explore the world around you. What will you discover about places you find familiar? What might you discover about unfamiliar places? I once found a huge potato in the gutter, so I put it on a postbox. True story.

You can Wandercast your lunch break, Wandercast your way home; Wandercast the streets, Wandercast the woods; Wandercast the night, Wandercast the day; you can Wandercast whenever and wherever you want!

Each Wandercast has some pre-wandering info to give an idea of its focus.

APA style reference

Z Wilson, R. (2016). Wandercast. walk · listen · create. https://walklistencreate.org/walkingpiece/wandercast/

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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