“Use your breathing.
The challenge for this exercise is that no matter how slow you are walking, you can always go much slower.
Commentary
The purpose of this exercise is to challenge your normal pattern or rhythm of walking so that you can learn to reconnect with very subtle energies in the body as the weight shifts from side to side in an extremely slow walk.”
Oliveros, Pauline. “Extreme Slow Walk.” Deep Listening: A Composer's Sound Practice. New York: iUniverse, 2005. p. 20.
Catalog Record
iUniverse
“White haired man, bearded, deep eyes, dressed in black leather. A man in a wide-brimmed hat is walking, a red-haired dog along the railroad tracks. Fried trout (breaded). Road gang chawing the sidewalk.”
Silliman, Ron. "From "OZ"." Conjunctions, no. 9 (1986): 31-39. Accessed May 25, 2021. p. 38.
Catalog Record
JSTOR
“To be well educated is to have learned the songs, proverbs, stories, sayings, myths (and technologies) that come with this experiencing of the nonhuman members of the local ecological community. Practice in the field, "open country," is foremost. Walking is the great adventure, the first meditation, a practice of heartiness and soul primary to humankind. Walking is the exact balance of spirit and humility.”
Snyder, Gary. The Practice of the Wild. San Francisco: North Point Press, 1990. p.18.
Catalog Record
BeWild ReWild
“Walking is the great adventure, the first meditation, a practice of heartiness
and soul primary to humankind. Walking is the exact balance of spirit and humility. Out walking, one notices where there is food.”
Snyder, Gary. The Practice of the Wild. San Francisco: North Point Press, 1990. p.18.
Catalog Record
BeWild ReWild
“Practically speaking, a life that is vowed to simplicity, appropriate boldness, good humor, gratitude, unstinting work and play, and lots of walking brings us close to the actually existing world and its wholeness.”
Snyder, Gary. The Practice of the Wild. San Francisco: North Point Press, 1990. p.23.
Catalog Record
BeWild ReWild
“Why not poems, the action. Yang Fudong’s project underlines where poets do go already – wherever humans are found culturally and we ought to shamelessly seize the project of being actors, sages, scholars ourselves, walking around without a story or a line. Without a panel, a reading or a talk. Maybe just a pulse. And call that art.”
Myles, Eileen. “Calling All Poets.” Poetry Foundation, June 23, 2009.
Poetry Foundation
“The green here was gray. They were walking now for water, not salvation. Just a drink. They whispered it to each other as they staggered into parched pools of their own shadows, forever spilling downhill before them: Just one drink, brothers. Water. Cold Water!”
Urrea, Luis Alberto. The Devil’s Highway : a True Story 1st ed. New York: Little, Brown, 2004.
Catalog Record
Little, Brown and Company
“Heat Stress. Everyone has been tired, or even dizzy, from walking in the heat. Everyone has been sunburned, sometimes quite badly. And many people have suffered the swollen fingers…”
Urrea, Luis Alberto. The Devil’s Highway : a True Story 1st ed. New York: Little, Brown, 2004.
Catalog Record
Little, Brown and Company
“It is very common across sign languages for the index and middle fingers to represent the two legs. Verbs that denote actions such as standing, getting up, jumping, falling, walking (in ASL and ISL) have a handshape on the dominant hand, often performing the action on the non-dominant hand (in the horizontal plane, palm up or down, representing a surface).”
Meir, Irit, Carol A. Padden, Mark Aronoff, and Wendy Sandler. "Body as Subject." Journal of Linguistics 43, no. 3 (2007): p. 546. doi:10.1017/s0022226707004768.
Catalog Record
Cambridge University Press
“Moreover, the body may take on one of several roles : it may represent the subject argument, but it may also represent the attitude of an outside observer looking at another person walking on high heels.”
Meir, Irit, Carol A. Padden, Mark Aronoff, and Wendy Sandler. "Body as Subject." Journal of Linguistics 43, no. 3 (2007): p. 547. doi:10.1017/s0022226707004768.
Catalog Record
Cambridge University Press
“Talk & walk you talk & walk all day long, isn't that true? & in all that time of your talking & walking it's only today this morning that you realize you've been talking & walking all by yourself & often people stare. That man needs the occasional friend & you without many friends, it's time to clean your hands to prepare for shaking. That man needs the occasional friend & you with many many friends, it's time for you to learn which friends to keep & which to release free.”
Hoang, Lily. "Befriending People." Fairy Tale Review 3 (2007): p. 51. Accessed May 25, 2021.
Catalog Record
JSTOR
“Talk & walk you talk & walk all day long, isn't that true? & in all that time of your talking & walking it's only today this morning that you realize you've been talking & walking all by yourself & often people stare. That man needs the occasional friend & you without many friends, it's time to clean your hands to prepare for shaking. That man needs the occasional friend & you with many many friends, it's time for you to learn which friends to keep & which to release free.”
Hoang, Lily. "Befriending People." Fairy Tale Review 3 (2007): p. 51. Accessed May 25, 2021.
Catalog Record
JSTOR
“...("de-ontic" modalities of the obligatory, the forbidden, the permitted, or the optional).18 walking affirms, suspects, tries out, transgresses, respects, etc., the trajectories it ‘speaks.’ All the modalities sing a part in this chorus, changing from step to step, stepping in through proportions, sequences, and intensities which vary according to the time, the path taken and the walker. These enunciatory operations are of an unlimited diversity. they therefore cannot be reduced to their graphic trail.”
Certeau, Michel de. The Practice of Everyday Life. Translated by Steven Randall. Berkeley: University of California Press, 1984. p. 99.
Catalog Record
University of California Press
“It thus seems possible to give a preliminary definition of walking as a space of enunciation. We could moreover extend this problematic to the relations between the act of writing and the written text, and even transpose it to the relationships between the "hand" (the touch and the tale of the paint- brush [le et la geste du pinceau]) and the finished painting (forms, colors, etc.).”
Certeau, Michel De., Pierre Mayol, and Luce Giard. The Practice of Everyday Life. Minneapolis, MN: University of Minnesota Press, 1998. p. 98.
Catalog Record
Washington State University