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I absorb Marclay over time. Dipping in and out of his Clock as opportunities arise. How long did Maya and I queue in New York? Massing hours in pursuit of time’s totality. 

Whereas artists such as Douglas Gordon famously explored duration through the slowing down of cinematic flow almost to the point of stillness, Marclay resorts to quick cutting instead, assembling thousands of fragments that unravel in rapid succession, literally forsaking duration in favour of time-as-movement.1

Counting the minutes. Sucked into narrative. Counting the minutes. People spend hours, not minutes, waiting for the time to pass.

For Proust, time is to be psychic time, and consequently the factor which determines our bodily life.2

Crossing the Millennium Bridge again. A montage of previous memories.

I tried to demonstrate the Proustian text as experience: not merely as a stylistic structure but as subjective, unconscious, sensory experience.3

Voluntary: ‘Walk, Stop y Roll’, my first encounter walking the bridge at a distance. 

So long as we remain on the level of voluntary memory, Combray remains external to the madeleine, as the separable context of the past sensation.4

Involuntary: ‘Notes to the Novice Pedestrian’, a year of relationships progressing.

But this is the characteristic of involuntary memory: it internalizes the context, it makes the past context inseparable from the present sensation.5

Time marked through wanders. 

We must regard involuntary memory as a stage, which is not even the most important stage, in the apprenticeship to art.6

Rush hour approaches. People move in a fury. Refilming the clock at Liverpool Station. Filming the clock for the first time. A montage of city sites over a year of wanders.  

Involuntary as it is, memory conceived in this way is not an internal property of the psyche: it aids the complex dynamics of the imaginary process whose role is to reconcile genius with the structuring of life.7

A team of workers, discovering, editing, compiling for the Master Artist.

There remains one thing sacred: art. But art is not social. It shreds the social order into little pieces. 8

Carl Lavery


1. Martine Beugnet, Firing at the Clocks: Cinema, Sampling, and the Cultural Logic of the Late Capitalist Artwork. Framework: The Journal of Cinema and Media, 54, no. 2 (2013): 193

2. Julia Kristeva, Proust and the Sense of Time (New York City: Columbia University Press, 1993), 5. 

3. Julia Kristeva, Proust and the Sense of Time (New York City: Columbia University Press, 1993), 29. 

4. Gilles Deleuze, Proust and Signs, trans. Richard Howard (New York: Continuum, 2008), 39.

5. Gilles Deleuze, Proust and Signs, trans. Richard Howard (New York: Continuum, 2008), 39.

6. Gilles Deleuze, Proust and Signs, trans. Richard Howard (New York: Continuum, 2008), 42. 

7.[Julia Kristeva, Proust and the Sense of Time (New York City: Columbia University Press, 1993), 91.

8. Julia Kristeva, Proust and the Sense of Time (New York City: Columbia University Press, 1993), 96. 

 

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A walk between two people in four parts over the course of one day.

A combination of the texts and photographs of Blake Morris and Andrew Howe.

A walk authored together.

i.) performance

Chimney Obscures Plane

DSB – Waiting Turns
A dog down by the river bank scrabbles in fallen leaves
Leaving a deposit for its two owners to find
Market men sort fruit
Pensioners arrange bags
Cyclists commute
Sweeping smoothly along the wide pathway from my right
Intermittently appearing/disappearing behind trees
The buzz of a leaf blower
Like an aggravating gnat
Pedestrian beeps signal crossing
The dog walkers pass in front of me, a man and woman
They lift the lid of the dog bin
Noticing me noticing
The danger of Watching.

Tethered (Running for the Bus – Caution Truck Turning Left)

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People stopped on phones, waiting
Concrete columns loom above

Figures silhouetted between railings move quickly towards the town

A young woman walks in the opposite direction
Engrossed in a conversation on her mobile phone

Automotive rhythms
Pedestrian time passed

Two loud bangs from a site further to the north

Telephone Conversation 1:

Like a performance score, a walk is an open-ended phenomenon, no one knows in advance what will present itself or who you might meet. The meaning is in the doing, properly performative then, which is to say, self-generating, contingent, improvisatory, light-footed and rooted in the everyday. It is also unexpected.

Carl Lavery, ‘Interruption… Walking and Ruination – or what it means to keep a secret’, in Clare Qualmann and Claire Hind Ways to Wander (Axminster: Triarchy Press, 2015).

ii. between things

Walking towards a tree I was imagining but not yet visualising | Searching for something inconsequential

Under my gaze and in a blink, ephemera gain gravitas | Making it consequential

A black hydrant on cast iron pillar stands next to the crumbling brick wall of Old St Chads | Enjoy: hide and go seek during the day; toilet facilities at night.

Peacock Passage | Peering in the window of a Gym I’ll never use

Car door slam | A different web for a different walker.

The chestnut tree comes into view | The tree a meeting point; a location for conversation

I retrace my steps, and the connecting path burns into my memory | before darting off into a cluster of trees on the path back home.

Telephone Conversation 2:

As we produce the social spaces around us, both materially and across digital networks, we are engaging in the production of space through movement. How we conceive of this movement determines how we will practice and live in the spaces we create.

Jason Farman, Mobile Interface Theory (New York: Routledge, 2011), 141.

iii. following
Long tailed tits
gathered in a crab apple tree
a cat
from stillness to disappearance
A magpie
emerged to pull me further on into the field
two women
from afar who went immediately inside
an aircraft
high above, took me at steady pace
a car
moving too quickly to keep up
a soft breeze
Briefly I let myself be nudged by
A man
carrying a pet container stopped on a corner to chat

Keen to avoid following people
Instinct to stop following

I allowed myself to drift, handing over control to the
birds
Skirting along warm pavement following
sun
Driving me steadily to the hedge at the edge of the field

Following or drawn towards?

My attention was interrupted by
Chain saw sounds
hammering and chainsaws on a distant building site

Always towards the builders

I moved towards them until my route intersected a desire path

The colour red a jumper towards a bus terminal constant red movement meandering back across the field through long grass to the river bank a flock of pigeons the cat settles stretches on the tarmac a leaf that moves once with gusto and then not at all

Telephone Conversation 3:

the possibility of escalation was embedded in participant’s sense making of following to the extent that for many if the practice did not escalate, despite their subjective experience, participants felt unable to verify that something had happened.

Fiona Vera-Gray, Men’s Intrusion, Women’s Embodiment (London: Routledge, 2017).

iv. the visual frame

The four sections of the walk resolve here:

I stayed still to explore my visual frame. I walked through the Mall to see the ins and outs. Engaged with the simultaneity of stories-so-far. Outside the pigeons change position but stay within the square. These repeated movements are choreographed.

Telephone Conversation 4:

If, however, the spatial is thought of in the context of space-time and as formed out of social interrelations at all scales, then one view of a place is a particular articulation of those relations, a particular moment in those networks of social relations and understandings.

Doreen Massey, Space, Place and Gender (Minneapolis: University of Minnesota Press, 1994), 5.

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Right after the church. Notice the leaves’ autumnal colour. Ignore the absence of a wooden beam.
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No church bells chime so don’t ignore the waiters and stop in for a glass of white wine.
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A dead end over the bridge. A temporary space for sparring practice.
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Turn around. Over the rough cobbles and on your way.
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The dog is missing, but bridges are everywhere. It’s not quite time to cross though.
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I’m waiting for you here. A small door. Or I’ll just keep walking. Another door will open.

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Stones have a long memory. Our last meeting unexpected, history links us as we walk the quiet predawn streets of London. We are transported. Joyful. Together we speak of stones.

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Rainy Day Women drifting over the Brooklyn Bridge. Talking tourism. Linguistic blagging. A Full English. Memorials. Buildings. Bridges. Death dates. A faint hum of suicide.

Twelve types of British stone. If these stones could talk: Keep calm and carry on.

Matthew Reason

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A transitional moment. Brooklyn ‘misty and gray, with one tree out of a hundred to show fall colors.’ London cold and rainy, the summer’s heat wave a distant memory.

A heath in London, a hill in Brooklyn.

The mountain will not come to me. Or perhaps it’s just ‘moving at mountain speed’.

Molly Mullen

Brett Van Aalsburg

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To begin with I didn’t know how to walk. I was able to learn to balance (with parental help). I was able to navigate the world on two feet. To engage in a series of tiny falls. The consequences of misjudged falls change. They grow with us.

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London is designed for a particular type of body. A body able to rush up and down stairs, swoop on to trains in rush hour crowds, push back against other bodies as they pile into spaces already full to the brim. In one step we can feel how our mobility changes. A few steps more and we can see how cities are designed for a specific type of mobility.

Cecilia Lagerström and Helena Kågemark

Richard Morris

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Meeting for the first time on a long walk strangers quickly become friends.

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Red: the colour of infrastructure. Investigating how beauty moves.

Invisible oppositions: bird watchers and dog walkers.

It depends on what you’re looking for.

Silence: wind blowing, bird calls, pavement impact.

It depends on what you’re listening for.

Invitation: barefoot yoga in the park.

Remembering a landscape that invited my feet differently.

Disturbance: changing flow through slight presence.

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Building rock walls in the Thames and embracing the radical subtlety of walking together.

Jane Fox

Louise Rondel