Friday, 23 September 2016

Deep Topographies: Inspiral London’s explorations into other spaces

Swedenborg House
22nd October 2016

Notes from Talks

SPIRALS- Recurring sign that binds the universe together

- Travel journals 
- Landmarks, uniting devices
- Walking stands for living
- Swedenborg: 'walking and journeying purvey mans movements'
- Walking and thinking: walking as inspirational too romantic and old fashioned view of connecting with the natural

Will Rowlandson

'The Holloway' - romanticising and anthropomorphising nature. Good speaker but nostalgic narrative!
Ken Worpole

'An Essex Journey', photographer Jason Orton
Photographs always make us reflect on the past as they are always necessarily images of the past.
Utopian settlements in England/ Land Colonies e.g. Silver End, Marylandsea.../ Experiments in alternative living

Discussed the IMMEDIACY OF SOUND (relates to Janet Cardiff) 


Marseille – a city on the edge/ the margins

Group of artists developed a trail and accompanying guidebook

Around the Bear Sea – largest inland sea in Western Europe

Heritage as narrative – intertwined histories (Doreen Massey in For Space– space as a complex meeting point of histories, not as a simple surface)

Walking and landscapes as complex:

- Creating narratives

- ‘Art as an experience’

- ‘The museum is the territory itself’

- ‘Getting lost in complexity’

Tension between urban planning and perceived ‘nature’

GR2013 as an experiment in dematerialised urban planning, made to create narratives

METROPOLITAN TRAILS – Created an official national federation trail in Marseille:

-          Hiking in the city

-          Connecting with the Anthropocene epoch

-          Discovering our own cities

-          Re-framing the city as a space to be explored



Banks (water)
Railway tracks
Window Sills


20:48, Thursday 22nd September 2016

At 20:48 on Thursday 22nd September 2016 I decided to walk on the edges of things.

Tuesday, 20 September 2016

Edward Burtynsky Exhibition Sept/October 2016

Edward Burtynsky

Salt Pans | Essential Elements

16 September – 29 October 2016 

Pivot Irrigation / Suburb

Edward Burtynsky

Salt Pans #25, Little Rann of Kutch, Gujarat, India

Edward Burtynsky

Rock of Ages #4, Abandoned section, Adam-Pirie Quarry, Barre, Vermont

Edward Burtynsky 


Tuesday, 13 September 2016

The Line

Composition 1960 #10 was one of a series of short succinct scores that Young produced in the early 1960s, several of which he published in An Anthology. Composition 1960 #10 follows Composition 1960 #9 (1960), which was a short straight line, printed on an index card. For Young, the form of the line served as the minimal unit of action, or an event, what he termed the “singular event.” The event for Young was the conceptual apparatus through which he structured activities over time and in space. The singular form of the line as event in turn expands into complex possibilities for experience, in each drawing, each following. Serving as a formal counterpart to Morris’s and De Maria’s own linear inscriptions (down the beach or along a pathway), Young’s line linked temporal process to spatial context: draw a straight line and follow it. His line is a model for a diversity of experience in a duration of time within a delineated place determined by material form —an appropriate, if minimal, example of practice inscribed in a site.

 Page 42-43
Toward Site
Jane McFadden