Suchergebnisse

COVER -- TITLE PAGE -- COPYRIGHT PAGE -- A NOTE AS WE BEGIN -- PART ONE -- Articles of a Treaty -- INSIDE THE POP-UP BOX -- TO BE A THING CUT IN STONE -- TO BE A THING UNFINISHED -- ANCESTORS OF AUTHOR DETERMINED (TO BE A GOOD ANCESTOR) -- FAMILY PHOTOS -- LIST OF RULES I HAVE BROKEN IN THE ARCHIVE -- ACTS RESPECTING VIOLENCE TO THE NORTH-WEST -- WHITEMUD WALKING: I -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- SELF-SERVE PHOTOGRAPHY APPLICATION -- NORTH-WEST HISTORIOGRAPHY -- PLACE OF CREATION: NO PLACE, UNKNOWN, OR UNDETERMINED -- ADELAIDE ROWAND -- HUNT UP THE HALF-BREED WHOSE SCRIP THIS WAS -- CONCERNING HIS CLAIM TO PARTICIPATE (1497707) -- CONCERNING HER CLAIM TO PARTICIPATE (1497707) -- MEMORANDUM: HALFBREEDS -- FILL OUT THIS FORM -- WHITEMUD WALKING: II -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- 1870: QUEEN VICTORIA ACQUIRES AD NAUSEUM -- WHITEMUD WALKING: III -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- WE DROWNED THE LAND OF ENGLAND IN THE WATERS OF DENENDEH -- PÊHONÂN -- THIS STORY IS CALLED: THE PRISON WARDEN BOUGHT MY UNCLE'S BUFFALO AND SOLD THEM TO LORD STRATHCONA -- 1876: TREATY NO. 6 -- ON THE BOUNDARIES OF TREATY NO. 6 -- WHITEMUD WALKING: IV -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- PART TWO -- PART THREE -- WHITEMUD WALKING: V -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- EDMONTON CITY PLANNING: 1890-2022 -- A NATURAL YARD IS NOT -- WHITEMUD WALKING: VI -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- WHITEMUD WALKING: VII -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- URBAN FOREST MANAGEMENT PLAN -- DOMINION LAND SURVEY -- WHITEMUD WALKING: VIII -- RELEVANT FACTS AND NUMERALS OF TREATY AND MÉTIS SCRIP -- WHAT THE CROWN PREPARED BUT DID NOT BRING TO LIARD -- EDMONTON'S WHITEMUD CREEK -- 1921: TREATY NO. 11.

Following Nicolas Bourriaud, art is a state of encounter which keeps together and provides a space of relations. Unfortunately, though, he pays not enough attention to the lived experiences of the participants enabled by this relationality. So the question we are interested in is not what 'is' relational art. It is neither about approaching relationality as a theoretical concept, nor defining art as relational aesthetics. It is about the question of what relational art 'does', or how it comes to its force as a practice. Therefore, we want to use Brian Massumi's idea of art as a political happening by taking a closer look at the relational dimensions of the Alter Bahnhof Video Walk by Janet Cardiff and George Bures Miller presented at dOCUMENTA (13) in Kassel. We want to explore the variety of affective encounters within the relational dimension provided by the frame of Video Walk. By describing the practiced artfulness of the Video Walk-frame as a relational transformation we will focus on its performative potential approaching the happening of art as an 'in-between' of space and time. ; Following Nicolas Bourriaud, art is a state of encounter which keeps together and provides a space of relations. Unfortunately, though, he pays not enough attention to the lived experiences of the participants enabled by this relationality. So the question we are interested in is not what 'is' relational art. It is neither about approaching relationality as a theoretical concept, nor defining art as relational aesthetics. It is about the question of what relational art 'does', or how it comes to its force as a practice. Therefore, we want to use Brian Massumi's idea of art as a political happening by taking a closer look at the relational dimensions of the Alter Bahnhof Video Walk by Janet Cardiff and George Bures Miller presented at dOCUMENTA (13) in Kassel. We want to explore the variety of affective encounters within the relational dimension provided by the frame of Video Walk. By describing the practiced artfulness of the Video Walk-frame as a relational transformation we will focus on its performative potential approaching the happening of art as an 'in-between' of space and time.

Abstract
Walking is a nearly universal activity, even given the many contrivances invented to avoid it, yet it is widely absent from the sedentarist disciplines of politics and international relations. This absence is perhaps not surprising, given that so much political thought and practice are deeply tethered to the inventions of the boot and the chair that remove walking from our view, as Tim Ingold has observed. Yet, given the significance of events such as forced death marches as parts of war and genocide; formative collective walks such as Gandhi's march to the sea, the Long March in China, or the Selma to Montgomery marches; or the everyday politics of walking in global cities, such absence might be mistaken. This article suggests instead that walking be understood as integral to the operation of internationality. In particular, it argues that walking is part of a mobile field of power and agency that generates, stabilizes, and unsettles internationality in equal parts. The article diagrams some key conceptual nodes of walking and political power, and then traces their operation in the case of the Long Walk of the Navajo.

When Rod Michalko's sight finally became so limited that he no longer felt safe on busy city streets or traveling alone, he began a search for a guide. The Two-in-One is his account of how his search ended with Smokie, a guide dog, and a dramatically different sense of blindness. Few people who regularly encountered Michalko in his neighborhood shops and cafes realized that he was technically blind; like many people with physical disabilities, he had found ways of compensating for his impairment. Those who knew about his condition thought of him as a fully realized person who just happened to

The past two decades have seen the rise of the walking tour as a tourist practice that stands in uneasy and contradictory relation to commodity culture. Focusing on the guided tour to Virginia Woolf's London, this article examines what happens when we literally go back to Bloomsbury, walking the literary text as we write the urban one. Placing it in a tradition of walking as a cultural, critical and aesthetic practice, this article explores the literary walk as a mapping of the city, a reading of the streets that is also a performance of the text and that, as an embodied experiencing of urban space, is the corollary of the present obsession with heritage and cultural memory.