Our lives also become increasingly transparent through the use of surveillance cameras, GPS technology that allows tracking our position, and biometric technologies. As Christiane Paul (2003: 165) notes, "our virtual existence suggests the opposite of a unified, individual body – multiple selves inhabiting mediated realities".

The Walking Project highlights the power and the risks of this dichotomy by remotely showing and recording the artist’s location during the performance on a virtual map. Through the use of modern technology the artist is at two places at the same time – once in reality and once virtually.

In addition to this, the use of modern technology in The Walking Project also helps to create actions and interactions in real time, opening the work to improvisation and chance. In doing so, the piece "diminishes the 'known' and rehearsed dynamics of performances […] and brings the spectator into the present moment of the making and unmaking of meaning" (Heathfield 2004: 9). This broad tendency of contemporary performance towards immediacy enables the artwork to become more authentic and hence accessible to a wider audience.


Heathfield, A. (2004) 'Alive', in A. Heathfield (Ed) Live: Art and Performance (London: Routledge), 6-16; Paul, C. (2003) Digital Art (London: Thames and Hudson); Solnit, R. (2002) Wanderlust: A History of Walking (London: Verso); Wunderlich, F. M. (2008) 'Walking and Rhythmicity: Sensing Urban Space', Journal of Urban Design, 13:1, 125-139