52 More: Blog

After I finished 52 Scores (2019-2020) I was left with a pile of off-cuttings. Words I considered, but didn’t use. For 52 More I’m inviting people to use them to make their own walking scores.

If you’d like to make a score, e-mail your postal address to blakemwalks@gmail and you will recieve a kit in the mail.* Each score takes one week to build (around five to ten minutes a day). Once you’ve made the score we can choose a time to walk it together (and invite others to join us if we so desire).
 
You can also join in the walks as the scores are made (check out the upcoming walks page.) To participate in a walk, read the score and decide how you interpet it as instructions for a walk. For instance, you might follow the words as a map, or use specific sentences as provocations for your exploration. You can do the walks anywhere in the world in whatever environment suits them best.

If you have questions or want to arrange a specific walking exchange, e-mail blakemwalks@gmail.com. You can also share you walks via social media using the hashtag#52More.

I will be sharing the scores and documenting the walking exchanges on the project blog. Feel free to participate in previous walks as well. If you share your documentation with me I will add it to the blog.

The project is ongoing until 52 scores have been created and walked into existence.
A crystal bowl filled with words sitting on a rock with trees in the background, the phrases 'the medium of walking' and 'shopping=Move' are visible. In the background on the rock are a train ticket and postcard with the words 'walking artists' in bold white letters. areCastoff words sitting in a crystal bowl in the Pennsylvania woods, ready to be turned into walking score kits.
Score #1 by Kaitlyn Van Aalsburg

A postcard on an easel in a wooded landscape. The postcard depicts a hand holding a map. Pasted words on the postcard read:landscape through walking and imagining together. concerned literally with experiences not with theories  experience  the area increasing prompted, in part, by the ‘scale’ – the duration not walking merits mention what was formerly “exterior”[score base: A card featuring part of Gwen MacGregor and Sandra Rechico’s Rejoinders (2012); photo and score: Kaitlyn Van Aalsburg (2021); score text: landscape through walking and imagining together./concerned literally with experiences, not with theories/experience/the area increasing/prompted, in part, by the ‘scale’ – the duration/not walking merits mention/what was formerly “exterior”]

Please join Kaitlyn and me as we walk Score #1 for my project  52 More. Kaitlyn and I have interpreted the score as a series of four (‘prompted, in part, by the scale - the duration’) and we will be doing the walk in the same landscape over the four seasons. We would love to share the experience of walking and imagining the landscape with you as it changes over the year. 

You can do the walk anywhere, at any time. Read the score above and decide how you interpret it as instructions for a walk. Share it with me via e-mail (blakemwalks@gmail.com) or through social media using #52More.

Walks:
Autumn Walk: Anytimes from 22 September - 20 December 2021, whereve you are.
Winter Walk: Anytimes from 21 December - 20 March 2022, wherever you are.

Spring Walks

Katy and Blake; 25 May 2021; Hawley, Pennsylvania.

A garage and a shed with an uprooted tree between them. A leafy forest is visible in the background through the buildings. (Photo: Blake Morris)
We begin with not walking. A conflict between the interior and the exterior takes precedent. An urgent appointment. It merits mention.

The side of a house with a rain gutter pictured centre. The sky is visible at the top of the picture.
The next morning we walk a small perimeter around the house. We stop often, looking closely.
The lower half of a male body, barefoot and wearing a longi standing on gravel. Grass is visible in the background. (Photo: Kaitlyn Van Aalsburg)
The textures shift: newly laid asphalt; freshly cut grass; gravel where the asphalt wasn’t replaced.

Two photos side by side. The bottom half of both pictures gravel. The top half of the right half has grass, while the top half of the left half has asphalt.
The exterior, framed through the infrastructure of the interior.

A wheelbarrow leans up against the wall underneath a deck. There are trees visible through the framing of the deck.
An asphalt pathway underneath a deck. Trees are visible in the background.
Next time we will expand the area. A slow summer stroll around a different periphery of the property.


Laura; 25 May 2021; Cardiff, Wales.

Instagram post of @pterolaur. On the right is a red brick building that is starting to deteriorate. On the right is a caption that reads "Walked Score 1/52 by @katybeth74 in the rain today"

Mathilda; 1 June 2021; Greifswald, Germany.

Mathilda took the score out to ‘her favourite path’, one to which she ‘will gladly return at all seasons’. Wiedererkennungseffekt: a revisiting of ‘spots and places which [she] made [her] own during 52 scores and the sunrise walks’. A kind of ‘reminiscing rather than imagining’. To be revisited in all seasons. 

a hand holds a piece of paper with the walking score written on it. In the background is a path, with green grass on either side and trees in the distance. The sky is a bright, clear blue.
a hand holds a piece of paper with the walking score written on it. In the background is a path, with green grass on either side and trees in the distance. The sky is a bright, clear blue.
Mathilda’s account: ‘An evening walk spanning 81 years, yet only one season. Imagining the landscape through the Score, without following the path it reveals. (It is my favourite: a place, formerly exterior, which I have made my own). I let myself get carried away in the hope of broadening my scale, but what I find are my own footprints. Memories of former Scores and Sunrise Walks from a time when with each walk, I felt the area increasing. Today I am reminiscing, rather than imagining. Untogether. Looking for new places and new faces, new seasons to come.’

Pavement with 1897 written on it.
Pavement with 1978 written on it.

Gwen and Sandra; Approximately 23 May and 10 June, 2021; Georgian Bay, Canada

two photos overlapping that show a blue lake under a blue sky. the viewpoints are from opposite sides of the bay.

Summer Walks

Julius; 22 June 2021; Eastbourne, United Kingdom.

a series of photos with text on a two page spread. the photos are of the beach and shore. The text reads:/concerned literally with experiences not with theories/ (a response to Score #1, Julius Smit - 22 June 2021) I step over from the constriction of the  tarmac promenade, meet the edge stone  and then onto the first wooden step of the  beach stairs. Mineral meets cellulose under  the shifting shadows. I am suspended between certainty and  uncertainty. I am reminded of previous steps.  Previous decisions and excursions to  move from firm control to chaos on the  ragged pebbles.I feel my steps are being led, moving  from an abrasive corruption to a satin  tranquillity. This is not the end of my  movement but the beginning, allowing  me to remember and forget. I break out from my idyll, daring  myself to embrace decisions in a state  of perpetual transformation. Am I  prepared for this constant negotiation?  I check back, once…  and catch the warning on the shore… ‘WHY RISK 5G?’ …the area is increasing…  …the area is increasing… …the area is increasing…

Kaitlyn and Blake; 16 Sept. 2021; Lackawaxen, PA

The end of summer.

Marked on a number of occassions.

As if we need extra time to process that final marker - point of no return - autumn equinox. 
An end of summer walk.

The score a new marker for the seasons.

A new perimeter - snaking around the built environment - the expansive exploration of fall.


“concerned literally with experiences, not with theories”

Autumn Walks

Kaitlyn and Blake; 14 October. 2021; Lackawaxen, PA

‘walking and imaging’ the boundaries of the property’s changing lansdcape together. The scale of the change revealing itself over the duration. The soon to be ‘formerly “exterior”’ as we go into the score’s final season. Changes that continue in the ‘not walking’. Not walking opens the experiences now to theories, but we are literally not concerned with them.



Jackie; 8 October 2021; Ireland

Instagram post by jackieb_9. Brown, orange and yellow leaves, with rocks next to them. The text reads: "jackieb_9's profile picture jackieb_9 Enjoyed walking score#1 by @katybeth74 from the #52More project by @blakewalks Watching the soft October light, "not walking" I am drawn out by the blueness of the sky.  Into the melancholy season, when everything is falling to the ground.  A child "concerned literally with experiences, not with theories" might imagine this landscape as a playground: kicking piles of leaves, squishing berries, collecting shiny conkers, and picking up magical sticks full of possibilities. #Walkingart #Autumn #Walkingartistsnetwork"
Julius; 21 October 2021; England

4 different images of repositioned oaks. On the left and right side portrait orientation images of the top of the oak columns. In landscape orientation in the middle top and bottom of the page are pictures of the full oak circle. In between the four images a text reads: "I walked twenty minutes from my flat to the Manor Gardens, a municipal park at the other end of Eastbourne. Inside the grounds stands a sculpture called ‘Eighteen Thousand Tides’, made by David Nash in 1996. A group of sea weathered oak buttresses used to prop up groynes on the seafront have been reclaimed and positioned within a circle to offer a space to enter into for quiet and contemplation. What was once formerly exterior now contributes to an area as interiior. I walked around the outside of the circle, before entering into the space, then walked slowly around and in between the oak sculptures, aware of my steps breaking the silence. I then stopped and stood still, looking up at the textures of wood against a bright autumn sky."



Project Blog
Score #2 by Brett Van Aalsburg

A white card with with various text pasted on it. Additionally, multiple passport photos of the artist are cut and and pasted on to the page in various ways.[score base: A digital passport photo card; photo and score: Brett Van Aalsburg (2021); score text: Manifesto for art:/an effect on, change or benefit to:/The Practice of Everyday Life,/recycling/as ‘one of the liberators of the theatre’/Artaud/submissions will be welcome whether the context/and tone will help to/establish the play/when they are in immersive environments/critically engage the artistic medium of walking/a new interpretation of nature/(including machines/animals, nature) and/around again/to the artist’./deviate from these instructions]


Brett and Blake; 26 May 2021; Hawley, Pennsylvania.

Brett described the score in the following way: ‘A score as a portrait of thoughts Blake has inspired. A treasure map of words exploring ideas wherever you care to walk it. Follow the ideas, find a place to recycle, build and grow. Find an excuse to walk with a friend.’

A hand holds a walking score, which has words and cut up pictures of a face on it. In the background a man walks through trees on a grassy hill.
We walked it together, using the score as a map with trails of words to follow.

A red line shows a squiggly route from Mountain Top Drive
A score is held up by a hand, it contains words and cut up pictures of the artist's face. In the background are trees, which can also be seen through a hole in the paper.
A man stands on a rock barefoot next to the deck of a house. Propane tanks are off to the right of him and off to the left are more trees.
A machine in my pocket captures our route, our speed, our elevation. The graphic spikes demonstrate when we are not walking. It merits mention.

A speed graph in which a purple line depicts the speed of the walk. It spikes to 3ph, before staying generally around .5 mph, before spiking a few times at the end.

On occassion I pull it out to capture the moment. A camouflaged frog resists my efforts at machinic capture.

A brown frog blending in with brown leaves and a stick, which cuts across the image at a diagonal.
We considered everyday practice through the artistic medium of walking. A reflexive walk. The artist is present (but not centered). Old pathways merge with new ones as we chart an uncertain future.

Two men stand in the trees. The one on the left faces forward, his foot on a log. The one on the right stands tall, part of his face hidden behind the tree trunk.
An intimate exchange of (recycled) ideas between two old friends.

Project Blog
Score #3 by Ciara McMahon

[score base: Room card for the River Lee Hotel, mostly blacked out; photo and score: Ciara McMahon (2021); score text recto: T(thisE RIVER walking/should/apply to systemic issues)/which a community can reconfigure/it is not inherently radical; score text verso: Guest Name/those more highly situated/people/Room No. our natural/waterways and greenspaces/Arrival/Departure/when i feel like/Guest Signature/You don’t belong here/actively interrogate/physical and/social constructs/informed by/and derived from/white, well-educated, middle aged/in-house expertise/rather than/those/who are less/to society]

Ciara, Alisa and Blake; 29 May, 2021; Boston, MA; London, UK; and Hawley, PA.

Three rivers: the Charles, the Thames and the Lackawaxen. Ciara, Alisa and I set out together, apart (connected via Telegram). London is sunny, while in the United States we walk in the rain.


Between Suburban and Urban: The Charles River. Within the first fifteen minutes of her walk, Ciara has ‘been splashed by two cars, stepped in two puddles, and encountered several closed sidewalks’. The people she encounters are out with a purpose—'runners and dog walkers’. The unfriendly charm of Boston: ‘Other pedestrians just treat you like an inconvenience’. She passes a rainbow of fists stenciled on the ground as well as ‘Everyone matters graffiti’. The sentiment against Black Lives Matters is strong in America, though so is the fight for new modes of equality.

The “community” garden is locked. No trespassing please. Near the boathouse that belongs to Harvard—or is it MIT’s? or Northeastern’s? with so many boathouses it can be hard to keep track—she reflects, ‘I always feel like a guest in their water.’

Urban: In London, a sunny day brought out droves. Walking the Thames near Southbank, Alisa navigates a river of people. ‘Everyone is SO dressed up’. The ‘first warm day. saturday. everything open.’ There seem to be more folks on the river than the entire population of Hawley. Emerging after a winter of discontent? People passing, people sitting.


For Alisa, the monuments of the Enbankment evoked ‘Stalin’s Vodokanal projects’ and the power dynamics present in the ‘act of framing water’. The water not available for all. The embankment itself is a ‘man made thing’, a taming of the Thames. The crowds in London have better access to the river than Ciara or I, though Alisa still navigates a combination of actual public spaces and POPS (privately owned public spaces). Private spaces masquerading as public commons.


Rural: My river was not so friendly. Beautiful, but not particularly inviting. Until 2021 the Lackawaxen River had no official public access points. Instead, there are private homes on the private river. To be fair, the river itself isn’t private. You can be on it, but you can’t necessarily get to it.


I pass a house with a wooden sign laser cut with the phrase ‘I don’t kneel’. A reference to Black Lives Matter I presume. It couldn’t possible be a rejection of Christian genuflection (Hawley being a good, god-fearing town). As I walk, I continue to encounter moments where it is clear I am not invited. Psychologically my queer atheism overrides my status a white, middle class, able-bodied, cisgender male. A continual feeling that I don’t belong here. I am not aligned with the town’s common thoughts.

Three rivers, but who do they invite to walk?


Laura; 6 June, 2021; Cardiff, Wales.

An instagram post by pterolaur. On the right a picture of the River Taff with people playing on the shore. The caption reads "What a perfect day to walk Score 3 by @hellociarbear. Part of the #52More #WalkingArt project by @Blakewalks

Project Blog
Score #4  by Debbie Kent


[score base: blue index card with cursive handwriting on it, parts of which are blacked out; photo and score: Debbie Kent (2021); score text: in parantheses dream wires/Follow the/Moon/precisely at the point where/Always almost obsolete/The clouds tonight are/open to participants/ded)forms of architecture/gloom of the deep/Let’s tentacularize/What happens]

Debbie and I will be exploring her score during the September new moon. We invite you to join us wherever you are, and walk with us as the lunation cycle changes to new moon in September 2021. Read her score, intrepret it however you like, and walk it with us at moonset. You can find your moonset time here.

Date: 6-7 September 2021 (depending on your time zone).
Locations: Anywhere
Time: Any time between moonset on Monday, 6 September and moonset on Tuesday, 7 September. 
Share: Use #52More on social media to share your walk, or e-mail me with your results and I will add them to the ongoing blog (blakemwalks@gmail.com).

Project Blog