A Manifesto for a New Walking Culture: ‘Dealing with the city’

Abstract

Click to increase image sizeClick to decrease image size ACKNOWLEDGEMENTS Wrights & Sites would like to acknowledge support from the Centre for Creative Enterprise and Participation, Dartington College of Arts, the University of Exeter and the University of Winchester. Notes 1 See Tristan Tzara, Dada Manifesto 1918, originally read in the Salle Meise, Zürich, 23 March 1918 (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; every hierarchy and social equation established for values by our valets’. 2 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; the abolition of prophets’. 3 A reference to Lautréamont's oft-quoted, pre-Surrealist statement from Maldoror (1868–1869): ‘As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella.’ 4 The rhyme goes as follows: How many miles to Babylon? Three score and ten. Can I get there by candlelight? Yes, and back again. 5 This text by Fiona Templeton was accompanied by a video extract of a research walk around Tbilisi (2005). 6 See Note 5 5 This text by Fiona Templeton was accompanied by a video extract of a research walk around Tbilisi (2005). , above. 7 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; the abolition of memory’. 8 This text by Richard Layzell was accompanied by a video extract of Walking in Circles (research in Wargrave, UK, 1999). 9 This text by Richard Layzell was accompanied by a video extract of Sense Walk (Project IS, Bristol, UK, 2005). 10 This text by Richard Layzell was accompanied by a video extract of Talking to Tania 1 (Skyros, Greece, 2004). 11 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; the abolition of archaeology’. 12 See http://www.planbperformance.net/dan/mapping.htm for further information. 13 This text by Fiona Templeton was accompanied by a video extract of a research walk around Tbilisi (2005). 14 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; the absolute and indiscutable belief in every god that is an immediate product of spontaneity’. 15 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; the abolition of the future’. 16 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; protest with the fists of one's whole being in destructive action’. 17 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; acquaintance with all the means hitherto rejected by the sexual prudishness of easy compromise and good manners’. 18 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; abolition of logic, dance of those who are incapable of creation’. 19 See Tzara (1992 [1918] Tzara, Tristan. 1992 [1918]. Seven Dada Manifestos and Lampisteries, London, Paris and New York: Calder Publications. trans. Barbara Wright [Google Scholar]: 13): ‘DADA; every object, all objects, feelings and obscurities, every apparition and the precise shock of parallel lines, are means for the battle of’.