The act of walking not merely as physical displacement but as an artistic and autoethnographic mode of inquiry capable of generating alternative narratives, unforeseen connections, and embodied knowledge through the continuous interplay between personal experience and artistic practice. From a position that integrates the roles of artist, educator, and researcher, the walking practice becomes a critical and generative tool, fostering intuitive mappings that materialize during the act itself. By embracing the concept of drift—understood here as both methodology and metaphor—the research evolves organically, without adherence to rigid academic or artistic frameworks, enabling a flexible, processual approach where each step opens new possibilities for inquiry and creation. The methodology privileges lived experience, allowing the personal to inform and reshape the artistic, while navigating through marginal, overlooked, or invisible spaces that hold potential for transformative insight. Through this approach, walking is reconceptualized as a mode of artistic production, capable of disrupting conventional epistemologies by prioritizing subjective, affective, and spatial engagement. It is both a means of intervention and a strategy of resistance, granting visibility to the unspoken and the unseen while carving new pathways of understanding. This embodied form of research is grounded in a practice that continuously redefines itself, refusing closure and embracing the provisional, the unstable, and the emergent as vital components of creative exploration. Ultimately, the inquiry reaffirms the potency of the walking body as an epistemological agent capable of activating territories, shifting perspectives, and revealing the poetics of movement as a legitimate and powerful form of knowledge production.
Martínez Morales, M. (2015). Andando. La acción de andar como práctica artística desde una perspectiva artográfica. Universidad de Jaén.
