the hayle manifesto

6.48
I am for an art that is, initially, perambulatory,
But I am also for sitting down, for an art that follows with a pen,
in a hand, whose newly noticed existence, has become
a strange new corner of the universe.

9.00

Walk is a simple act.

9.01

Walking could be:

my body itself a dance, dancing with, in, among others’ dances

9.05 crawling up a stairwell. 

Dad, 5,000 years ago, can you imagine?  For you I intend to walk until the end of my days.

9.30

Remember the Darwinian version of evolution from slime to sea creature to land mammal to upright biped. In private or public space, practise standing up and taking your first steps again and again.

9.40

Dunes. Walk with someone who has a similar pace; who can help you over a stile, hold open a gate and lift the barbed wire.

9.45

Imagine you are walking a narrow path. To one side a vast expanse of space stretches wide open. Decide quickly to change tack – shift sped – leave the path – leave the group – run – jump off the edge – if you fall, roll with it. Hold onto your hat. You can rejoin the path, but it will be a steep and slippery climb.

9.46

Damage a map. Walk the damage.

10.00

Crawl, crawl, otherwise we are lost.

Go walking backwards with Pina, in a red fleece, with soft hands and sharp knees. Kick off Gore-tex trainers, and wear Isadora’s feet. Back past Darwin’s finches before you knew how to fly. Tiptoe down the laddered spiral with Watson and Crick. Paddling into primordial seas: A, T, T, G, C, A. Fish the gene for walking.

10.01

Synchronised dune-surfing.

10.10

Walking art is a revolution to power the future, to bring playbour to the labour of mobility.

10.14

On foggy days take turns with a friend to disappear on foot into the mist. Practise this disappearance while remembering someone or something you have lost.

10.15

moving, growing, breathing with the colour of birdsong, rhythms of light, patterns of others’ footsteps, the wise movement of plants

10.16

Surrender to paranoia: hide needlessly; build shelters; adopt disguises. Follow the blurs in your vision and walk into luminous voids.

10.25 dune heights

Teachers, encourage children away from their desks, walk dunes, every week- say no to Tory SAT pressure and their intolerance of mediocracy.

10.28

Twenty reasons to walk a place (Part 1):

To stride, strut, sashay, saunter, stroll, skip, stumble… play.

10.30

Identify by diff-erring, disidentify by conf-erring.

Walk as an ecosexual intercourse: engage into encounters de-re-locating the body’s sexual sites. Mistake dune-grasses for play-toys. Follow dogs’ footsteps so I am wearing the collar. Engage in de-re-posturing, kneeing-up and kneeling-down. Consensus is a walk without knees. Acknowledge the political, enjoy the pain. Mistake churches for piercing shops. De-re-organize all hegemonies, walk agonistically.

10.31

Left house on all fours – born to be bipedal? Dune walking – blindly towards sea, feet forcefully wet – unpredictable proximity; blindfully towards dune – quasi-zero chance to collide. Feeling sand texture with feet… onto dune – as – body. Unmediated til now – curiosity driven. Were this a mathematical formula, would it be less than 60 signs? Would it be more elegant?… Gestures lost, gestures gained… Blue plastic pervades.

10.32

Rather, we are representatives of the state, which no amount of détournement will undo. To walk with eyes closed is to walk in circles, instead we must walk with ears wide to avoid the endless void of repeating our own privilege.

10.40

Eight uses for a long pointy stick found on beach:

  1. Draw in the sand.
  2. Propel yourself up sand dunes.
  3. Pick stones out of your shoe.
  4. Become a dog magnet.
  5. Take it for a bus ride.
  6. Point out interesting things.
  7. Use it as a sundial.
  8. Detect resonant underground sound chambers.

11.00

Walk in a group. Slowly, without intention, separate. Wait for the moment when a member of the group appears again, suddenly, as if emerging from a thick mist, and then another, and another. Regroup.

11.15

Perhaps you are here, or hereabouts. Acid-etch your sunglasses and enter a contemporary mix of depopulated walking candy.

11.16

Walking art goes into the world and takes the world within it from moment to moment, from step to step.

11.30

Walking alone to make photographs of what could be described as narcissistic walking or contouring. Walking along a compass-bearing north into the sea. Walking north and south along the same trajectory. Walking with snail and rabbit trails listening to skylarks. Walking to lose breath. Walking as transport for now.

11.31

HANGING ONTO THE SIDE OF A STEEP DUNE FROM A CLUMP OF GRASS. THE WALKER BENDS BUT DOESN’T BREAK; WHETHER IT BE LEGS AND FEET, RULES GOVERNING SPACES, OR A CLUMP OF GRASS.

11.32

Twenty reasons to walk a place (Part 2):

To sense, feel, touch, focus, engage, contemplate, be afflicted by.

11.35 lost in sand

Walk to understand and prevent suicide.

11.55

Write tiny messages on stones.

12.00

Walking is a privileged act of freedom. Getting lost. Slow down. Change perspective.

1.30

SEAL WALK. THE WALK IN OUR HEADS IS JUST AS IMPORTANT AS THE WALK WITH OUR FEET.

2.30

Scratches, streaks of rust, rivulets, effacements. One thing can be enough. The thing itself can be enough.

3.00

Walk is a means to access that allows us to look behind and beyond, and to experience the distances between things, people, memories.

3.30

Don’t just walk in the footsteps of heritage heroes, working-class or otherwise. Seek out the footfalls of invisible women.

3.42

sixty words

salty worlds

touch the group

melt into the

mudpies

curl

brush

wave

rabbit holes   bumps   roughs

fox paths   leadened people prints

scatter

bind tails loosen feathers

covertly luminate elbows

to secrets and ear horns

gloved with kites

4.00

We, the privileged leisure walks-plus, must address the litter of our own state(s).

4.01

Walk is an act of learning and being aware that turns into a social responsibility to make visible the invisible.

4.02

Twenty reasons to walk a place (Part 3):

To meet, talk, listen, relate, cross paths.

4.15

stepping, being still in a mind free of meaningless manipulative word-assault, in body free from physical and verbal harassment, objectifying gaze, in space of wild history and becoming

4.16

Using our moving body (feet, knees, wheels) we open our senses to tune into the layers and overlap of landscape, environment, community, ourselves and those we walk with or among, animate and inanimate, using devices or not. Although gently questioning what we are noticing and why, we encourage the drifting mind as well as the drifting body – perhaps the path to creative thought.

4.20

Avoid flânerie. Don’t walk above the crowd. Have respect.

4.25

Transcend walking by sitting. Sit on.

4.30 Camborne High Street

Curate walking projects in 16 empty shops, include locals, generate a footstep economy.

4.31

Walk kindly, but ask questions.

Walk against the grand narrative and pick human-sized holes.

Walk as a weaver and repair.

Acknowledge frailty.

Look hard but also soften your gaze.

Do your homework.

Don’t walk like you own the place.

Pick up stories, and litter.

4.45

The walking artist is a technician, a mechanic of the footfelt who steams the engines with human animal effort.

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