Performing Distancing

Social distancing was introduced to the UK around March 17, 2020

On March 18, 2020 I did a walking art performance to explore the then new idea and practice of ‘social distancing’.

On reflection, a year on, it is interesting that this simple act gave me insight that evening into the way that ‘social distancing’ would very quickly become normalised in society, as did the sensation of coming to avoid or mistrust the proximity of other people.

It just reinforces for me how performance and art as research may be able pre-empt experience and give insight into experiences to come, but do so through feelings, not through empirical data.

Be careful what you think you see.

This reminds me of Cassandra, who was able to see the future, but was cursed by nobody believing what she said. She was cursed by Apollo for lying when she said she would get jiggy with him. She was cursed for lying, so the curse made her words became an untruth.

Maybe the moral is then is to not lie to yourself about what you may see, but beware that to say what you see may help nobody. And if you do speak, maybe only speak to people who see the world the way you do. Therein is the dilemma of holding your own counsel or speaking only to become stuck in a bubble. Trump and Brexit and QAnon all rolled into one.

Or maybe the moral is simply that words are not accurate representations of feelings, and interpreting feelings is an art not a science.

Below is my account of that performance written somewhere around the end of March 2020.


Performing Distancing March 18, 2020

(Written end of March 2020.)

On the basis that art and performance can be used as research, to explore and express personal experience, I wondered what would happen if I walked through Carlisle town centre maintaining 2m social distancing, but do it as performance, choreographed like a dance or with applied dramaturgical principles, and record it with GPS.

A simple algorithm was devised to work like choreographic directions.

Walk in a straight line until I was within 2m of another person, then turn away until the distance exceeded 2m, then resume the straight line.

Where I met an obstacle turn through 90+ degrees and continue in a straight line.

Limit the walk to the central shopping area.

Walk for 1 hour.

I imagined this visualised as a faux maths formula, because moving an idea between forms, like turning word into image, can sometimes reveal a new aspect to the idea.

Faux math formula

Where P is the path of the walk, as an iteration or repeat of p, which is each leg as a straight line a-b until this is changed by meeting a person (the m is an aboriginal sign for a person, basically, the bottom mark left in the sand where a person was sitting) in which case the path p changes (the triangle) by n degrees.

The basic principle of art as research is to make art, in this case performance, and pay attention to what happens when you do.

On the 18th March I did a social distancing walk for an hour in Carlisle city centre, and payed attention to my thoughts and feelings and other peoples response. I tracked it with GPS tracker.

This is the raw GPS visualisation of that walk.

This shows the path I followed as the green line. The dots are simply GPS way points.
This is a satellite view. The image is old and some things were absent in March.

I worked with a GPS track editor and removed as many intermediary waypoints as possible to leave only turns in response to social distancing or turns in response to an obstacle, like a shop front.

I got this, edited down as three images joined together.

Simplified social distancing walk.

What the walk/performance did as research, was give me insight into social distancing, then a very new phenomenon.

Over the hours walk, I started to become anxious when I got close to people. As a person approached me and I anticipated the need to distance, I felt a rise in my level of anxiety. I felt isolated and distanced. I felt sad.

I was also nervous about wandering around in circles for an hour on CCTV. In the end nobody even batted an eyelid. I was utterly uninterrupted and fully ignored.T his added to a sense of aloneness.

Part of the creative process is the period of incubation, in which the creator moves away from the art making and does some other thing. On returning to the theme or the artform, after incubation, new insights emerge. The form created is seen in a new light. I noted this sadness and anxiety at the time, but on writing this, months later, another aspect of my experience of performance/art as research came into play.

I reflect now that this experience gave me insight into how social distancing would feel. Now, months later people are not rushing back to contact, many people appear reluctant to go back to the shops and the pubs and the office. This week, mid-June, the MP is now imploring people to go back to the office and the shops and the pubs. The anxiety prevails.

Also there is growing anger in the UK and clear riotous anger in the USA in some quarters of society. Today I found the following meme.

My experience of children in care is that many are angry and this is just a product of sadness and anxiety. Whilst different, both are connected to loss. Anxiety may be an anticipation of discomfort and danger, but also the anticipation of the loss of safety, the familiar, and the predictable. Our stress response is fight, flight or freeze. We have been unable to flee in lockdown, which leaves fight and freeze, anger and sadness.

On March 18, the day of my social distancing walk, the experience of social distancing was new. This art based research could not be seen as producing a clear empirical evidence based outcome, but I did experience feelings in myself which could have anticipated feelings shared by other people once the lockdown deepened in its impact. I anticipated sadness and could, in retrospect, have anticipated anger.

This work is highly influenced by the arts therapies and dramatherapy and by experiential learning. In the arts therapies, whilst art is made, the role of the artform as an end product, for sale, or for viewing by an audience, is not significant. What is significant is the experience of art making on the part of the art maker. As such it is a form of experiential learning in which direct experience of art forms the basis of learning or research in which the art making is both the mode of research and the outcome of the research. It is part research, part performance, part personal therapy, part play, part experiential learning but is never fully any of these things.

Undertaken with the intention to make this as art, invites the creative process, and as such it is unique, not in any grand way, but in a way that invokes creativity as a simple and easily available act accessible to anybody. The act that makes it art in intentionality and this intentionality can be learned.

My hope is to use this website and my own art making to show ways to learn this. We cannot all be artists but we can all make art. What this experiment revealed was simple and oddly mundane, but also complex and profound. I want to show how art making can help you explore and express your experience of the world.

Solway Walk – Moving On

My visit to the Solway was prompted by a need for a large space without physical barriers to explore what would happen if I walked a drawing of an model of experiential learning through the arts. In doing so my idea about my model changed.

The original model

Models are slippery things. Their appeal is that they appear to give a fixed image of a thing, but in practice whilst they serve as a very useful signpost about which way to go when you set off, the thing you find when you get there is never fixed. So the walk was undertaken as an experiment ‘to explore what would happen…’

  • learning model

What the model predicted was that a number of factors would contribute to the art making. In this case my thoughts were that source material would be Richard Long and the walking and land artists. My personal arts practice or art made included using a GPS and walking to make a mark on the landscape and experience of film making as a means of exploration, reflection and expression of experience. I drew on ongoing research and theory about the outdoors as a liminal space and art making as adventure, as a journey of uncertain outcome, and Shaun McNiff’s ideas about witnessing in the arts therapies1.

The model was correct in that my path would lead in to and out of the art making on the day and on to more art making, research, source materials and theory, and that the generic coloured blobs would be specific to the art making experience. My initial thinking after the event went to ideas about performance and the epistemic object and further trips to photograph and film, reporting this through blog posts.

At the centre of this, an act of art making and poiesis occurs. Something comes into existence that did not exist before and it is called art. It is art by convention, because all this could describe the making of a cup of tea. To this conundrum ’Why is this art?’ one asks the question asked by artist John Baldessari, “Why is this not art.” It is art because it was my intention to make art and my act was guided by research, reference to existent artform and artists, theories of art and my experience of art I made before.

But there was something incomplete about the central concentric circle structure. I was interested in the model showing how each experience of art making occured within a loop of experience, like in Kolb’s learning cycle.

  • kolb

But like the Kolb model is an ideal form which would be expressed differently depending on the setting, the strict concentric form may vary depending on the setting. My experience of art-making was, however, that in making art I stepped away from the day to day life experience and went to a different place. This could state is sometimes known as a ‘Flow’ state from work by Mihály Csíkszentmihályi. You get in the zone of concentration and attention, of doing and the senses. But for art-making as experiential learning or personal research or art therapy, you enter a state that is similar to a meditative state, like flow with awareness. You are focussed on making art but also on what it is that you have made and what happens when you make it.

So in the model, as well as cycling through an iterative learning process, there was a linear path away from the world, into a creative state where something happens in partnership with your artform, then back to the world.

Reflecting on how the model changed

On return home from the Solway and recollecting the emergence of performance I went back to my Dramatherapy training. In a dramatherapy session you work with a basic three part structure. ‘It begins with a physical warm-up leading to the Main Event, the place where the real action is. It concludes with the ‘grounding’, returning people from the ‘Land of Imagination’ to their own everyday selves.2

During the walk recreating the drawing, the shift from walking to dancing, from recreating the drawing to improvising and performance emerged unbidden. One could say this idea came out of my imagination or my unconscious, or it was the product of a state of flow, or having danced in the past, I simply remembered something from my past related to what I was doing in the present.

So there are two things here. One is a linear journey into a place with some degree of separation from the everyday world, into ‘flow’ or ‘Land of Imagination’, followed by a return. This is a linear journey in an iterative looping cycle of learning. The other is the experience of being in ‘flow’ or the ‘Land of Imagination’. This is an experience of art making as somewhat separated from ones day to day life.

Something like this three-stage process occurs in many settings. In story and in film and theatre there is a thing called the ‘Three Act Structure.’ On one hand, this is as simple as a beginning a middle and an end or it is sometimes understood as set-up, confrontation and resolution. Many interpretations exist and there are examples to be found of its use in say cinema, but it is not without some contention. Like one article says ‘The true three-act structure isn’t a formula, it keeps your beginning separate from your middle and your middle separate from your end. That’s it.’

But the ‘beginning, middle and end’ could be seen as a universal or archetypal structure. For example at Outward Bound, in experiential learning, you worked with a ‘training, main and final expedition’. Your training expedition was where you taught skills, the main expedition was where you had the conflict as you got the people to move from being a group to being a team. Final was the unaccompanied independent journey.

In care, we worked with a conflict model and resolution tool called ‘ABC Charts’ meaning A – antecedent, B – behaviour, and C – consequences. Joseph Campbell’s Hero’s Journey has a specific expression and detail but is also a three-stage form, the call to adventure, the test and the return.

But the simple, warm up, main event and grounding of dramatherapy mentioned above can be also seen in a form described by Victor Turner and Arnold van Gennep as Rites of Passage.

  • Turners Initiation Model

From Schechner3

The above diagram is from Victor Turner a British anthropologist who theorised the above from studies of non-western settings at the top, and western settings at the bottom. This is a three stage journey of return that is linear and cyclical and has a central liminal or liminoid space somewhat separated from everyday life called The Land of Imagination in the dramatherapy model.

Art as liminal space

My proposal is that art making and experiential learning could be understood as having some some elements of the above structure in their practice. I don’t think it is coincidental that after a while on the Solway Walk, I spontaneously rediscovered that I could do the walk as performance. This could be seen as me, albeit briefly, entering a mild ludic state.

There is a lot to this seemingly simple experience of walking in circles on a beach like an idiot. Not least the idiocy. I was being playful throughout. I was in the land of the Trickster or the Court Jester, at once playful and challenging, the one who can perform recombination and inversion.

This is also adventure. The journey between departure and arrival. The journey of uncertain outcome with misadventure available. The three part expedition cycle of Outward Bound. On a slave ship, the middle passage. The refugee in the hands of the trafficker. It is not a thing of the past.

To me there is also something in this of being in the Solway, a liminal space if ever I saw one, between two countries, high and low water, land and sea. To me this is also a state of walking. In walking you are between places, outdoors, in a state of flow, and returned to a mode of existence that predates all of the modern world.

So after a few weeks of reflection my research led me a realisation. The experience was ‘like’ a lot of things, from experiential learning, theatre, anthropology, adventure sports, performance art, and conflict resolution, to Outward Bound and Joseph Campbell’s Hero’s Journey.

This could also be applied to many arts based contexts and the model has ART FORM as a liminal or liminoid experience at it’s heart, the same as dramatherapy. But the artform that fits this experience best if what is known as Walking Art.

My exploration of my Solway walk has reached a convenient place to move on and in my next set of posts I want to look at Walking Art with a particular focus on it’s scope for promoting health and wellbeing.


  1. Mindfulness and the Arts Therapies – Theory and Practice – Laury Rappaport ed.  ↩︎
  2. Discovering the Self through Drama and Movement – The Sesame Approach. Jenny Pearson ed.  ↩︎
  3. Performance Studies – An Introduction. By Richard Schechner. Routledge.  ↩︎

Solway Walk – How to Perform a Walk

Introducing Augusto Boal’s ideas about performance as a creative space for experiential learning

The act of reflection on my Solway Walk led me back to performance. Performance, like art, is a variable and often contested phenomenon. It can include theatre, dance, music, sports, business, ritual, play, performance arts and general social functioning. It can be a source of entertainment as actor or audience, but here it would be useful to connect with performance as a form of experiential learning. All art making could be understood as experiential learning as a source of knowledge, but performance has a particularly strong affinity with experiential learning as an active embodied process. My take on performance has to be influenced by my Dramatherapy training, in which a group or and individual can engage directly with performance to learn from experience.

One practitioner who works directly with performance as learning is dramatherapist and Social Activist Augusto Boal. He starts with theatre but develops it with the idea of the spect/actor, simultaneously spectator and actor. The spect/actor is performer and audience in one.

In Rainbow of Desire Boal describes theatre by quoting 16th century Spanish playwright Lope de Vega as ’two human beings, a passion and a platform’. This confirms the theatrical mode of performance as being a collective experience. In this case the ‘company’ is two, (and possibly more) persons interacting with one another. The passion is a reference to strong feelings and often suffering. Passion implies experiences beyond the mundane. Finally there is reference to the platform. In theatre this is usually the stage, as separated form the audience. Boal however moves beyond the actors and spectators as physically separated on auditorium and stage.

What is important to Boal is the act of separation rather than the form of two physically separate spaces. He says ‘The separation of spaces can occur without the ‘platform’ existing as as an actual object. All that is required is that, within the bounds of a certain space, spectators and actors designate a more restricted space as a ‘stage’,: an aesthetic space’.1 By this he says ‘In its greek root ‘aesthetic’ means ‘of or pertaining to things perceptible by the senses’’. Boal goes on ’So theatre does not exist in the objectivity of bricks and mortar, sets and costumes, but in the subjectivity of those who practice it’. He establishes theatre can take place anywhere you want it too. I chose a beach.

Boal continues ‘The ‘theatre (or ‘platform’, at it’s simplest, or ‘aesthetic’ space’, at it’s purest) serves as a means of separating actor from spectator; the one who acts from the one who observes. Actor and spectator can be two different people; they can also coincide in the same person.’ (Boal’s italicisation). The individual performer is witness to their own performance in real time and retrospectively.

Boal says ‘The aesthetic space possesses gnoseological properties, that is, properties which stimulate knowledge and discovery, cognition and recognition; properties which stimulate the process of learning by experience. Theatre is a form of knowledge.’ Here he describes theatre and performance as experiential learning. But away from the confines of theatre as a building with a stage, as a state of entering aesthetic space as a form ‘in the subjectivity of those who practice it.’ then theatre and performance as separation between actor and spectator, could be seen as having occured when I made the beach a stage, an aesthetic space, in which I was both spectator and actor. This is reflective practice.

My reflection, or my ‘review’ was live in the doing and the senses, direct in my direct recollection of the experience, reviewed by the witnessing of the camera and my seeing and editing the footage, in the production of the gps track, as a direct reflection of how I recreated an image of an idea, and how I deviated and moved form representation to improvisation. I witnessed myself in performance. Now you witness what came form my performance.

Boal offers one perspective, and there are other perspectives from other arts and performance theorists and practitioners, but in my reflection, reconnecting with Boal’s idea of aesthetic space resonated with my experience of going from walking an image of an idea to making the beach a place to improvise or perform a new image of an idea. He goes on to further develop the idea of the aesthetic space which offers some interesting insights.

He talks about how aesthetic space has a property of plasticity. It can can be anything we want it to be. ‘A battered old chair will be the kings thrown, the branch of a tree a forest…’ The Solway beach became a canvas to draw an image of an idea, then it became a stage on which to choreograph a dance with a piece of seaweed. Boal says ‘The aesthetic space liberates memory and imagination’.

He also says it offers an affective and oneiric dimension which ‘exist only in the mind of the subject… The affective dimension fills the aesthetic space with new significations and awakens in each observer, in divers forms and intensities, emotions, sensations and thoughts’. In the affective dimension the performer is in the moment and observing them self in the moment, they become spectator and actor. The affective dimension is ambiguous and dichotomatic. I think this is the bit that makes reflection on experience in situ available.

Boal goes on to say ‘Oneiric space is not dichotomous because in dreaming, we loose our consciousness of the physical space in which we the dreamers, are dreaming, here she penetrates into her own projections, she passes through the looking glass; everything merges and mixes together, anything is possible’. Which is why at the end of the walk/dance/performance I knew something had happened, but only on reflection at home did this thing that happened decompress. The act of making images of the experience helped with this. I think this aspect is the bit that makes, in the words of Monet and Rothko, the art the experience. The art form becomes a form of knowledge. The art making is research with the art made is the process and product of research.

The dichotomy of the experience is a key element. Of dichotomy Boal says ‘ This property is born out of the fact that we are dealing within a space within a space; two spaces occupy the same space at the same time.. And all those who penetrate it become dichotomous there.’ As a member of the audience watching Macbeth, I am in the auditorium and also on a heath, there to meet Macbeth. As a walker on the beach, I was on the beach but also on a canvas to paint a picture, then on a stage to do a dance. On a ropes course I am safely moving over a step across, but I am also a person who fears that may fall to their death. I want to return to dichotomy in my next posting, but from the point of view of the art object in fine art.

As a therapist Boal also talks about the effect of the dichotomy on the protagonist actor in the aesthetic space. In theatrical mode, he says, ‘..the protagonist-actor produces thoughts and releases emotions and sentiments which.. Belong to the character, that is to say, someone else.’ In therapeutic mode ‘..the protagonist-patient (the patient-actor) reproduces her own thoughts and releases anew her own emotions and sentiments.’ In the case of my Solway walk, the beach was the aesthetic space and the work done was partly about my material I brought, ie the image of an idea, but also my experience of the place as an active participant as art form and process. In all of my work and ideas about art as a form of experiential leaning, the approach is much closer to the therapeutic mode. From experience I have found this sets the whole mode of working with art appart from ideas and practices found in ‘The Arts’ or ‘Fine Art’.

Finally Boal talks about the aesthetic space as being telemicroscopic. ‘In creating the stage-auditorium division, we transform the stage into a place where everything acquires new dimensions, becomes magnified, as under a powerful microscope, thus brought closer and made larger, human actions can be better observed.’

Boal as a therapist and social activist has a good deal to say about how theatre and performance can enable spect/actors to reflect on their own experience and ‘..help the spect/actor transform himself into a protagonist of the dramatic action and rehearse alternatives for his situation so that he may then be able to extrapolate into his real life the actions he has rehearsed in the practice of theatre’.

In moving from representation of an image of an idea to improvisation of a new image and thus a new idea I believe the Solway walk did this for me. The dichotomy or ambiguity in the experience invited me to ‘rehearse alternatives for the situation’. This is a creative act, it is experiential learning, it is adventure. Creativity is a state of uncertain outcome. The journey of uncertain outcome is built on ambiguity. Art is adventure, and whilst misadventure was absent here, it is present in some arts practices and, if I got my tide times wrong, the Solway is a dangerous place. My suggestion is that art making can be an inner adventure or an outer adventure. This is a thing I will discuss elsewhere.

The key themes in this are 1) that performance is an invention of experience not place 2) and as such, by being dichotomous and ambiguous, offers scope for new experiences, and 3) the performance or art made is not just a representation or symbol of experience, it is the experience, and 4) the performance or art made can be understood as research and knowledge of personal experience. This, alongside other modes of understanding experience, offers some unexpected dividends.

  • Ig talking about curiosity
  • Ig talking about curiosity
  • Ig talking about curiosity
  • Ig talking about curiosity

Performer, Iggy Pop on a beach talking to someone about curiosity.

In further posts the ideas of performance and art making as a transformational experiential process will be further developed. But a key theme is that this experiential process is dichotomous, subjective, situational, emergent and multi-dimensional, and no single account can describe it in complete and concrete terms and working through direct expression of my own and other peoples working practice is the best way to do this. What I present is art making as adventure, the journey and not the destination.


  1. ‘The Rainbow of Desire’ by Augusto Boal  ↩︎

Solway Walk – The Experience

The Experience of Walking an Image of an Idea about Art as Experiential Learning

Dubmill Point in Allonby Bay was empty and big. From the road to the low water line was about a kilometre. I chose a spot to walk in the centre of the image above, a low bank of hard sand.

Dubmill Point on the South Solway

My intention was to walk the image below; my sketch of an idea about art making as experiential learning. I wanted to recreate this as a walk on the beach. I would use gps to track the shape I made, and record the walk on camera, and see what happened when I moved an idea from one artform to another, from an image to embodiment. I would walk with intention, attention and attitude. I would then write about my experience, reflect on theories and practices from the arts and learning, and see where this took me next. In my model below I would follow up this experience of art making into reflection, inquiry, reportage and further art making. I would not only walk my talk I would walk my thoughts.

art as experiential learning model

I set up my camera so as to get as much of the walk as possible without me becoming a dot in the distance. I set up my GPS and found my central point, meant to be the ‘Art Making’ part of the image of an idea. I set off walking in big loops.

Music : overdub1 by Chris Reed

As I walked it I kept seeking to return to the centre point. At first I found I lost sight of the central point. This would mean my GPS track would not reflect my drawing, so I put a marker there, a bit of seaweed and started again. I treated this as a rehearsal, an initial loop round my experiential learning model.

I set off again to recreate my drawing. I walked a line, one foot in front of the other, but by passing through the central point, I also walked in wonky looping circles. I got into a rhythm, I started to pay attention to how this might reflect art making as experiential learning. The central point became the place I returned to, but the loops took me to different places on the beach.

After a while I started to develop a kind of relationship with the central point. It occurred to me that instead of just walking the shape of the image of the idea, I could do a big slow looping dance with the centre as my static partner. I trained as a dancer and wondered why I had not thought of this before.

In the moment of being in moving as an artform, in the intelligence of that material, in witnessing my doing and the senses, it felt like this had significantly changed the experience. I found a freedom from mere representation, from figurative form, and improvised a new form. It became performance. Through this experience I learned a new thing about my art making practice.

All in all it was a quick and easy thing. It took me about 20 minutes to walk a mile. There is quite a strong tradition of walking as art and performance art in outdoor settings. These forms are interesting in that they are durational, the art making only happens when the person is walking or performing. The experience may well be documented through film, photography or other forms, but it is unlike a painting in which the artform exists after the making it. The artform is the experience. Performance based arts are very experiential and offer interesting opportunities for experiential outdoor learning. But Mark Rothko stated that the art, even a painting, is the experience.

This is something I want to explore further. If the art is the experience, and we work with the outdoors as art, the art we make outdoors can tell us not only tell us something about outdoor experience, it can be the outdoor experience. We make something that is outdoor experience. This interests me a great deal.

Doing strange things in the name of art, like walking around in circles on beach may seem meaningless, but often I find that the most important learning comes out of what seems to be the simplest most meaningless experiences, or experiences that seem to have many different meanings. Ambiguity is important.

Walter de Maria, made action-art and land-art, only available when experienced directly in the outdoors. He said…

“Meaningless work is potentially the most important art-action experience one can undertake today”

…but also

Any good work of art should have at least ten meanings.

Walter de Maria 1968

See video here

Read article here

But my intention was to use this to explore my model of art as experiential learning, and at the time what struck me was that by changing from walking the shape of an image of an idea, to performance, dancing, improvising the idea directly in the space, my model changed, and so did my idea about art as experiential learning.

The image that immediately came to mind was my life as a map with different experiences and interests, different places, other artforms made, with the artform I am currently working on as the one with the closest proximity to where I was at the time. In my next post I want to reflect and report on this aspect.

Solway Walk – Introduction

Towards a Model of Art as Experiential Learning

On November 18, 2020, I went to Dubmill Scar in Allonby Bay, the English side of the Solway Firth, to walk. I went to walk as art. Guided by the art therapies and experiential learning, I make art outdoors to explore and express personal experience. I work with the outdoors as art.

Most of my art making revolves around a series of place based projects. For this project on the Solway, I started with walking, but walking as a creative act. Walking in the space, I try to pay attention to what is happening with an attitude of openness to experience. I seek to be in the space as an experiment to see what happens rather than be in the space as a venue for activity. The art is the experience, and the experience is the activity.

This walk needed a large space with open access and no boundary fences, and at the bottom of the tide, briefly, the Solway has a lot of walking space. The Solway does this by being eternally transitory. It is always in a state between high and low tide. The border between Scotland and England, it belongs to nobody but the sea, the sand and the things that live there. These things need no fences or footpaths. I have been visiting the Solway for years. It is never the same twice. It is a space open to possibilities, and as such, a place of creativity.

For this walk, the space was needed to recreate an image of an idea I worked on previously on about making art as experiential learning. My background in experiential learning has introduced me to a number of models of how we learn from experience. In all of them, there is an image of simultaneous movement, around a circle and along a line.

Plan Do Review Cycle

Kolb’s Learning Cycle

Using this idea and image of learning from experience as a starting point I reflected on my own art making and drew a sketch of experiential learning with art making at it’s centre to see how it might look. I wanted to move this idea between artforms. Each artform has it’s own intelligence, and shows things from another point of view. It is used in the arts therapies and is called multimodal working. It is an interesting technique. To aid with this I decided to film the walk.

things from a different perspective

As a starting point for how a model of experiential learning from art may look, I drew this.

art as experiential learning

First draft of a model of art as experiential learning.

In this model the looping line is my passage through time, through my life. The central bit is my encounter with art making. When I make art I learn something and this loops out back into my life and informs my next round of art making.

There a sort of sequence to this. I think about making art, then witness and pay attention to what I am doing and my senses when I make the art. The art form, the material of the art making has an intelligence of it’s own which can tell me something. This is an idea from artist and research Paul Carter called the Intelligence of Material (IOM). As part of this I also engage in reportage of my experience, which is what I am trying to do here. Writing and reporting helps me understand what I am thinking. In formal art based research, this is called exegesis, meaning interpreting arcane texts.

At the time I was also thinking about Rhizomatic Knowledge from Deleuze and Guattari and Bubble Charts as I felt that my experience of art making had an adimensional or three dimensional quality, hence the images at the bottom

But the bit I wanted to work with were the big recursive loops through art-making and back into life, where I did more formal research of artform, ideas, the work of other artists, theories of learning or art-making. So off I went to the Solway, with it’s big unimpeded wide open spaces, always in movement between states, and thus ripe for creativity to walk this image of an idea about experiential learning.

It is difficult to create and analyse at the same time, so my intention was to be in the space and the moment, witness what happened when I was walking as art, then reflect and report later on moving an idea from an image to an act of walking.

Generally what happens is that what I learn through the experience of art making acts like a cascade of dominoes, expanding out into inspiration to new art making, connections to theories and practices of art making and learning and insight into place and personal experience.

Over a series of posts to my blog I want to follow the cascade of ideas and art-making that will come out of the walk, then curate the posts into a themed collection of ideas, practices, artworks, a bit like a magazine. Over time I want to do a series of magazines covering different topics relating to art, experience and the outdoors.

In the next post I want to describe what happened when I did the walk of an image of an idea about art as experiential learning.