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DELIRIUM AMBULATORIUM
Hélio Oiticica’s Delirium Ambulatorium explores urban wandering as a creative practice, a “to-and-from” movement without linearity, where walking through the city feeds the mind, transforms urban space into a playground, and allows new artistic ideas to emerge through sensory, bodily, and chance encounters.
Season for Falling and Invitation to Fall
Season for Falling and Invitation to Fall (2013) by Amy Sharrocks explores falling, risk, shame, and vulnerability. Sharrocks invites participants to fall physically, reflecting on control, exposure, and the human experience of loss of balance.
Please, walk on here (Kono-ue wo Aruite Kudasai)
In 1955, Shimamoto’s Please Walk on Here used stable and unstable boards to make participants physically experience risk and instability. Recreated for the 1993 Venice Biennale, it highlighted bodily engagement and precarious perception.
Related
DELIRIUM AMBULATORIUM
Hélio Oiticica’s Delirium Ambulatorium explores urban wandering as a creative practice, a “to-and-from” movement without linearity, where walking through the city feeds the mind, transforms urban space into a playground, and allows new artistic ideas to emerge through sensory, bodily, and chance encounters.
Season for Falling and Invitation to Fall
Season for Falling and Invitation to Fall (2013) by Amy Sharrocks explores falling, risk, shame, and vulnerability. Sharrocks invites participants to fall physically, reflecting on control, exposure, and the human experience of loss of balance.
Please, walk on here (Kono-ue wo Aruite Kudasai)
In 1955, Shimamoto’s Please Walk on Here used stable and unstable boards to make participants physically experience risk and instability. Recreated for the 1993 Venice Biennale, it highlighted bodily engagement and precarious perception.
World-Wide-Walks is a landmark, multi-decade (1973-2023) project by Peter d’Agostino that investigates walking as both a physical act and a conceptual framework for exploring the intersections of environment, technology, and human perception. Beginning in 1973 as The Walk Series, the project initially documented walking performances on video, capturing the patterns, gestures, and movements of the body in relation to its surroundings. Over the decades, World-Wide-Walks has evolved into a complex, multi-platform exploration, incorporating web-based projects in the 1990s, locative and mobile media installations in the 2000s, and immersive 360° VR video in the 2010s.
The work engages participants and viewers in layered experiences of space, movement, and time, blending real-world landscapes with virtual and networked environments. It examines not only physical navigation but also the conceptual “walk” through media, technology, and information systems, highlighting how humans interact with both natural and constructed spaces. Recent iterations consider environmental change and climate issues, situating individual movement within broader ecological and cultural contexts.
World-Wide-Walks exemplifies d’Agostino’s broader artistic practice, which merges theory, semiotics, and interactivity. By positioning walking as an artistic, performative, and technological act, the project transforms the simple gesture of moving through space into a tool for reflection, exploration, and critical engagement with contemporary life. It has been exhibited and documented internationally, at universities, galleries, and festivals, solidifying its role as a foundational exploration of mobility, perception, and media-driven experience.
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