In this thesis, having introduced my research questions, in Chapter 2 I present a layered analysis of the important contexts of my practice—walking, sound, walking poetry, and place. In Chapter 3 I present and discuss three works that together explore how it is that I know the world as a sensate embodied walker. In Chapter 4 I develop what I came to call replicated walks—walks made more than once in the same place. Begun in order to re-configure time, they also led me to extend my consideration of place beyond that defined by geography, to place defined by biological phenomena or socio-cultural coherence. In Chapter 5 I describe my emerging ideas of human-scale of place and my underlying ideas of island-ness. Initially I worked on real islands, walking circumferential routes and those defined by chance procedures. From this I developed an imaginary island in the foothills of Northumberland’s Cheviot Hills; made from the human-scale of my embodied walking this led to my creation of an imaginary pandemic island of containment, created in a city, in my locale, made, and made real, by the traces of my embodied walking. Together my works constitute a body of work that represents a contribution to knowledge with specific contributions of: the use of Replicated Walks as a method of experimenting with time and place; Walking Words – the presentation of poetic text in forms (concertina-fold books, scripta continua, scrolls) that requires walking to engage with it, and that also function as metonyms for my original walking act; Walking Islands –the use of human-scale walking to imagine an island into existence, and then invoke the island as a lens through which to continue to pursue the idea. My work also contributes knowledge to the methods of how to record the sounds of the world whilst walking through it, over extended distances and time.
