This article looks at the discursive and practical construction of walking in a British context. It examines the ways in which notions and practices generated by conventions around the meaning of walking in the countryside apparently contradict prevailing ideas that walking is an escape from the restrictions of everyday urban life. Identifying particular, competing forms of walking and the techniques and identities that they espouse, it is suggested that such activities are suffused with disciplinary norms. Yet despite these conventions, walking holds out the possibility of disruption, through confrontation with physical discomfort, unpredictable features and sensual experience that contrasts with much contemporary forms of movement. The work of artist Richard Long is used to explore these issues.
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