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Las observaciones antropolégicas, Mossfica, sociopolitias y atisticas que nos ofvece el Autor som pucstas también al servicio de un propésivo de una gran claridad, cuyo objeti- groupe that spea alternatively en 1¢ prolongation, «and —why irs, through Egypt and Ancient Greece, agonists of Land Art philosophic, sociopol scourse of great Incidity, the arbi to bring us up to today, to Zom0, Linguistic place encountered in the exprestion anda ¢ Zonzo, and which means drifting without a goal, as did the walker in the 19t-century city Such an expression is waat’s called a “fixed syntagm'", one which may only conform to a timeless reali. Today the landmarks have dis- appeared: one no longer traverses Zonzo as before, with the guarantee of going from the center to the periphery. There was a dime nema ctr ‘obvidada por completo por los propios arq tectos, se ha visto reactivada por los poctas, Jos fil6sofos y Ios artistas, capaces de ver a algo. Hocquard y pacio negativo! existe un vacio que permite gue los componentes puecan ser vstos tun modo mévi, de un modo dinamico" Podemos encontrar un inventario de cierta Hocquard and Michael Palmer, Founded the Musewn of Negativity after having spotted an immense hole beside the in France. Or Cord the 1970s bought up “negative space’ a void exists so that the in sgredients can be seen in a meving way ora dynamic way! We find the inven of these atta fections elicited by walking, in 2 Bruce (Chatwin book Carer often cites, The Songtines, a sort of pacan to nomad thinking, ‘more than to nomadism itself, it has to be said, By dynamizing them, the act of walking ofa certain number in fact makes the songlines criscrossing “witch lines," as Deleuze would say, sweep thought along in the wake of the mo- ‘whales delineate atthe bottom of the sea,se pepos- épog aunus oy Buz j yo sand Gorepsaa ‘Siqearo:opun yas sa0eds Suny ye puey UF puey S208 sheage zone 24, ORION & POI Axe Bunjys v sneusisop ose [uw 27] Bu _Stopiog st 30 spo axp we ower & Jo souyuioo a¢p We porenns savor o1 to Areuommpes aren ap sea saysIEU, a4, Sapypes sur pue ‘afueyp pu Aigout 4q paznansesey> {mopaxd sp008 jo ‘uot papdspos -puey partapaoaicun sy "SeTURMIDS O PALES -moosp 369 90 PEPE tus ‘upiqura oWwoD' -oad 98 apaop se8i0 sope nd uy TENE YOR “UAIOY eNIEUIAA, s1omp 08 20 poqueap pet zoicd suomauDs -ouddas posse ain wy 340 ayn zayp1@ 01 puod -san100 upp 7em ad oj 299 'spewou wer JO ‘ure atp dnivexe paniosgo uosyoef ‘awanx9 ser oyp “ade 8 uosel Noms _yo stup ony 200 sare ‘op spupunjou op sey Woy tej sreadomng, -uvdxo peasopss ont pasego st adeaspury aun, ‘yppe ay ‘oust, SoquU 10 sfaqwg Seypuerds conut 3e sewn prox oping, UEP ov pap spuaus sry eran ‘uosuyug b euwoLIoUTe eDuaTEyS! ] EnsOMUE 9p 0] out09 "eadoma aqustuesy ‘souDUt ‘oyu tu ~epesou.. PeP| pp 4 edu jo, equa tus an o| sod sepugns seueqan soucrpetsio3 os “rerojda 608 unt [2 “WoKg BONY 1 40d swprayaens “seisp OOD sea cece neecs pados por una poblacién “marginal” que ha es mis que lo ra Esta va partir de ahora ya sabe mi como éste conlleva un aut de los que tanta vivir ben, idad tenemos para well as individual, in order to then trane- form the mind of he who knows how to look, Such an enterprise has a genuine “po stake -in the primal sense of the wor inate these empty spaces we have such need ‘of to lve ell ee © ome typuBnoxp Supyjen se] woo eeoSo9 sy opie onsane 9 opemt | au auquno4 Jp sept [9p spsen ¥ “oOnEWIOL ny tearneu 198 8 egesed { srupaue> 1089p, ‘eqeBp anb ome un uo spre spar ¥yra10%003, ‘2 onb "epu 9p sofotu 9010 prpuosde ayuoumsoiney ure. pte taueW neg sfesred jp eauoysuen eno vy uoo woyoquis eroueW wim | meus] 9p smary vaupiodusiuo> pep | Bun2a.o a1gyog “4p Kresoduraru09 np e] 2p sepeurgursopedss soy seutroysuen sooeds srpetuow 9p wisojsten pue arojdxa —_&.xe0(dx> fend ja uoo oongise oxuowTINsH pasnzaatioa wespod anb 4a [pp puioasy #1 9p aured seunioj e openus ws Apuacas dquo anea exp st anrauantiaqaas ojgs anb Souo}oe 9p A135 sous © seeing aed Buysey axp vo wy aq, eu aku eisando euyBydl 9p BH ET . sedeosyeMque nos rodean, thanos Errare humanum est. ravesar ol espacio nace de ka de moverse con el No de las intertninables batidas de caza del paleolitico, cuyos sign ron trad dos por los egipcios pos lo del lero ara. El errar {que narracién), transformandose de exe modo en reco ido sagrado, danza, pev naci6n 0 procesién, Sélo en el siglo xx, al desvinculatse de la rel ny de la literatura, el recorrido ha adquirido el extaruto de puro acto estétic. in faac Jad podriamos wakecapes Errare humanum est. ‘The act of erossing space stems from the nat ural necessity (o move to find the food and information required for survival. But once these basic needs have been satisfied, wall- ing takes on a symbolic form that has ena significados sim vo primario: el err ries of chaos, constructing an to develop the architecture of stated objects, Walking is an at from ‘whose loins spring the menhir, sculpture, architecture, landscape. This simple action ‘has given rise to the most important rela- ips man has established with the land, the territory. Nomadic wanshumance, generally thought ‘fas the archetype for any journey, was act ually the development of the endless wa crings of bunters in the Paleolithic period, whose symbolic meanings were translated by the Egyptians in the ha, the syrabol of indering. This primitive roving lived in religion (the journey as ritual) anc terary forms (the journey as narrative), wansformed as a sacred path, dance, pilgt de mage, procession. Only in the last century has the journey-path freed itself ofthe cons- traints of religion and literature to assume the status of a pure aesthetic act. Today ics possible to construct a history of walking 28 form of urban intervention thai ‘enily contains the symbolic meanings of the primal creative act: roaming a8 ar ture of the landscape, where the term land scape indicates the action of symbolic as, ‘well as physical transformation of anthropic space. order om 1956-1957), ya 19661967). Al n lipid amsisic donde se forman nodo esponténeo los espacios ots, un ipilago urbane por el que navegar ca- ‘mento océano formacto por el espacio dat andar. meras décadas del sig xx como de anttarte. En 1921 Dada orga- ne a fos hagaves mds banales dela edad a This is dhe perspective in which we have ‘ments of passage ‘ely familia to historians— in which an ex- perience linked to walking represented a turning point. These are the passages from Dacia to Surrealism (1921-1924), from the Lettist International to the Situationist International (1956-1957), and fro imal Ast to Land Art (1966-1967). By analyzing these episodes we simultaneously obtain a history of the roamed city that goes from the banal ety of Dada to the entepie ‘Surrealists and the playfuland nomav ‘of the Siniationists. What the roving of the artists discover is a liquid eity, an amni ‘luid where the spaces of the elenhere take spontaneous form, an urban archipelago in which to navigate by drifting, A city in Which the spacer of slaying are the islands in the great sea formed by the space of going: Anti-walk Walking was experienced for the entire first part of the 20th century as a form of ant: art In 1921 Dada organized a series of, ‘visicexcursions” to the banal places of the city of Paris. This was the first time art rejec- ted its assigned places, setting out to re- uvadomn jo 3941 i seg Aq poroupuoD ,so>u nunuopy oy fo. angy, ¥ 2peus woRpLS uogoy wa mes ey, “Wop. stow! -ouoane we suresag Surges pre uosqe Ayaaydzo> sea. nafgo poids oun “puey 2p epeq anb sopedso soyanbe omoous so¥ag ‘seureqin setsounae se] antta asopuniprog “st -adoma sepepna seunSqe U9 GGT aayTRg 10d oq sepRAdy| 52> se] u> eseq 95 oapunqeni [9p mL pp 2ps0p pets" pepmD wf 2p exm204 ‘jouequnsuea, exdonua 1 10d sopesous8 ‘sopeuopuene sox ‘uenusnouo 2s pepnp e| ap semoso saved predso oxdord ne aonpordarue 09 ste souaBi00 0. ‘hen tg eowoxada as an wo ap “orefgo ouoo orommnid ‘opaiooas jap wa sound ‘isa ‘uopannsuos we risido1 sptitg Suey, 9p afers jap over feumuaie vasias vj uo ananede ggg wa “ezaesn7et esses open ary ¥ poomposd Suey prexny L96T ty "sunpanypae yo sua pu saoeds ayn ‘upepar oumdyros Supreur‘gara>ainyare pue sw uaamiog diysuonepas amp pute adeaspury 4 saiSiz0 oreysie axp ‘Bunion yBnowtp “po -anurexo-ou uy puey “sousyisdxa we se z91e] uv so0fo ue se asry “yped oun jo auromp ox s10jd3 01 urllag suord nos uHeN99 “ANA at pepaoud progad dig te wlo[ soBsy oH “egqy Jo sopsdA arp ue & pauiBWap MNESUED LGBT UL 2s 7 2H s0g61 3p ry “yp atp Jo soqoursin passoud ‘1 o1p “aneds yo souoz snomsuosun oxp Su vaxas yo ayqed> ‘29nd Ye -oine yo 1108 e “,wonenquneap,, se soUDUAd 1 uo stuantoqut ered uezqnn seasnse 50] anb ‘eurzoy se] 9p mn ouroa tepue fo exapisua> 28 xx of8 op peru epunos wy axed HERA PUCT -sisod sour s0] ap sajvoqpes seipreniivea se 9p 9809 S201 uos opuEuds 4 earaDorIN 28 ¥] 9p ouquUy je ouspeMOL [Pp eur > conan Mok wpewo pepn eearesop 9p uy Pp wo> va ‘ouaiqe oduea © oapunqesion un tremuefizo soustzed seigepEp 891 FRET WE “oxousisod seiprenBixea se] 9p UIs 2[ 9p soronpuoD ofy oUto9 JENA” BIDqDP ‘ub sare jap ugroesed ‘ered epeq sod sopooco 60 pies ig Jo uo> sopeandar soe ny $0] ezeypas aut (p anb zaa esouad wy sa ssoet in be aquel ido como el inconscieie de a cad. Las ransformaciones, los desechosy de contrat han procucido un ‘en los sectores laberfinticos de Babylon de Constant: un espacio némada ra rilicado sisten aque parece haber de vidas wba icorios es posible a momentos, Ia separacién mile- las espacios némadas y los espa cios sedentaries. En idad, el nomadismo siempre ha vivk del paisaje contemporaine. Por: mer objetivo de este li ro es de arquitecténico del el primer objeto del paisaje a partir del cual go beyond the age-old division benween no- ‘adic space and settled space, Actually, nomadism has always existed ‘mosis with settlement, and today’s city co tains nomadic spaces (voids) and sedentary spaces (solids) that exist side by side in a del. nee of reciprocal exchange. Today the nomadic city lives inside the stationary feeding om its scraps and offering, in hange, its own presence as a new nacure ‘can be crossed only by inhal ‘Transurbance is, just like the erratic journey, sort of pre-architecture of the contempor crural image of nomadism, 1g bunters ofthe Paleolithic period and nomadic shepherds are the or igin of the menhir, the frst object of the landscape from which architecture was deve. loped. The landscape seen as an aritetuse of open spaceis an invention of the civilization re of open space to the space. is wo understand the place ‘of the pathjourney in the hi tectural archetypes. In this sense we must make a journey back to the roots of the re lationship berween path and architecrure, not exist as the physical construction of space, butas a symbolic construction inside the path— of the territory. ‘Toward a new expansion of the field ‘The term “path” simultaneously indicates todavia como tan slo Por una nueva expansion de campo recorsida’ se refiere ido del espacio atraves: ra narratva). jeetSnico) y et recortido como estruct queremos proponer el rec estética disponible para la arqui- aisaje. En nuestro siglo, el re del recorrido wavo lugar pri- sreno literatio (Tristan Tzara, ay Debord eran escrito- ‘Andre, Richard Long y Robert thson son escultores). En el terreno de I arquitectara, el recorride lew a buses enel nomadi de a antharquitectura¥ 30 Los ft 1 of crossing (the path'as the action of ‘that crosses the space (che path as architectural object) and the tale of the space crossed (the path as wie intend to propose the path as an aesthetic form available to arch- tecture and the landscape. In this century, the rediscovery of the path happened first erature (Tristan Teara, André Breton and Guy Debord are writers), then ture (Carl Andre, Richard Long, Robert Smithson ate sculptors), whi i of architecture te path has led to of the historical foundations of in nomadtism, ane nas not yet led (0 a positive development. ‘Thoough the path different disciplines have produced thei -xpansion of the field” (Rosalind Krauss) for coming to terms vith their own limits, Retracing the margins of their disciplines, many a tempted not (ofall into the abyss of nega tion consciously opened by Dada at the be ginning of the 20h cenuy, but to leap Ipeyond it Breton transformed the antiart ‘of Dada into Surrealism through an exp sion of the field toward psychology; the ‘Situationists, starting again from Dada, a tempted to wansform antiart into a unified racture). Wi Ast wansformed the sculptural tervitory by exp: ld toward landscape and archite thas often been observed that the architec- tural discipline has, in recent years, expan- ded its field in the direction of sculpture and the landscape. In this direction we also find the crossing of space, seen not as 2‘uonDanp a uonngintics & 2q ‘1 paptat ayer Sumony ous, “yred axp 30 ‘ur dane v Sunqer hq as0p Bury Insp 30 PIE ‘agmosor v ova} aum20uY9 yore Aepoy“uBisop Axerodura3u09 jo sjo01 puonuonuon otp djap aeyp so2eds 2eaKp9 ju at) BPISUL ayR UO BuLeES suHOJsEN AON Jo mow pun 20y 3X ‘ay 241 ut Sunde dq Surwor2q stone soup Hugpom pur urqesoeop 30 2p “deo 001 onamisae we se Supyten axeaypur on 1 3p Aarqusap 2p zede> 02% lun s> nepue ja onb uoxq spur reyeu9s os01n) ‘too anb seuruoqon un onto sparen operaprsuoe 42s exapod amu 9 opnuraut ‘e dnur snbure ‘opxen9 96 our, jp anb annuszod ened sopio29u ap nyosqe wuss ne ef reettoa: e wu “epeutou wpueqinsuEn ef 9p ¥ypour y se1su0d & ofnayp ap sesame reuopuege v sestfested so, {sorsaambre sof ‘8 repur o19mnb ou off WOD “soyaHEA so}O>eq, 2p sopeBnsoaur 9p uy (9 409 ‘souejodon, -2uu soomand so1sedss so] 19110331 [pp odure> |p eeey asupaedsa wiped wimoeunbie uy siusupemay -euougyne euydissp ap 1m -Hs9 jo opezueoye vy anb vous eunzo} eUN, ‘euros ou ‘ouree FPP UOT: omic ou e eprpuaiua ‘opedis> 9p uopor ¥ upIqaIE? eso ug “afesed jo wamnosa vy Ppey odure> “oanisod oyjoamesap un opentionts ey ot