This proposal presents part of an ongoing doctoral research project in the field of Arts Education, that explores walking-with as an artistic and methodological approach to learning, researching and thinking collectively. In this context, walking is understood as a condition through which attention, knowledge and relationships are produced.

Developed in educational and urban contexts - between school, street, and museum - the research is based on the assumption that learning is not only cognitive or discursive, but also embodied, situated, and relational. Walking practices create conditions for slowing down, sharing rhythms, and cultivating forms of attention that challenge accelerated and results-oriented models of education. In this framework, learning is understood as something that develops through presence, care and correspondence with others and with the place.

The central theme of this research is the articulation between movement, attention and learning in arts education. Walking is approached as an artistic and pedagogical practice that allows research to emerge with participants, rather than being conducted on them. This approach brings collective experience, uncertainty and openness to the fore, privileging processes over results.

The study is guided by the following main questions:

• How can walking practices generate shared spaces of attention and learning in arts education?

• What kinds of knowledge emerge when learning is approached as an embodied and collective process?

• How can writing and drawing function as methodological gestures that extend walking, rather than merely documenting it?

Conceptually, the research is informed by perspectives that challenge representational and extractive models of knowledge. The notion of walking-with emphasises learning as a relational process, produced through the correspondence between bodies, places, and situations. Attention is understood not as an individual cognitive ability, but as a shared and cultivated practice that develops over time.

Writing and drawing play a central role in this context - they are approached as embodied practices that allow lived experience to continue in another form. Writing and drawing, and their lines, are understood as gestures, marks that translate movement, allowing thought to happen through the body.

The aim of this research is not to produce generalisable results or fixed models, but to articulate a practice-based methodological approach. By focusing on how learning and research occur, the study aims to contribute to discussions in arts education, research-creation and embodied pedagogy, offering walking-with as a method that privileges slowness, relationality and collective attention.

This research adopts a qualitative, practice-based, process-oriented methodological approach. Walking together is not treated as a data collection technique, but as a methodological condition through which learning and research develop. The methodology is relational and situated, evolving in response to each particular group and context. Walking constitutes the central methodological framework, enabling embodied, collective and attentive forms of learning. Participants are invited to walk together, sometimes without predefined destinations, allowing attention to shift from outcomes to what happens along the way. The research is conducted through a set of interconnected methods: . collective walking practices . intentional pauses for engagement with places . embodied listening to the place and others . writing and drawing during and after walking experiences These methods are understood as methodological gestures that support attention, presence and shared research. The main instruments and sources of research consist of materials generated by practice, produced during these walking processes. These include: drawings, maps, and spatial notes; written fragments and short texts; photographs documenting gestures and traces; field notes written by the researcher. These materials are treated as relational sources that carry the traces of movement, attention and collective experience. Analysis and reflection occur through revisiting and juxtaposing these materials over time - and the poster proposed in this submission to ECER 26 is an opportunity to test exactly that. The visual and textual fragments presented in the poster function as extensions of the research process itself, making its methods, gestures, and materials visible - and once again open to reinterpretation. The poster thus functions not only as a means of disseminating research, but as a methodological device aligned with practice.

As this is an ongoing practical investigation, the expected results are understood as situational insights, methodological articulations, and shared understandings that emerge through practice. By placing walking-with at the forefront as a condition for learning, the investigation contributes to rethinking how educational and research processes can be embodied, relational, and context-aware. I seek to make walking-with a practice that supports collective attention, openness to uncertainty, and learning through shared presence. Another expected result concerns the role of writing and drawing in walking practices. As an artist and researcher, I hope that writing-walking and drawing-while-moving will function not only as tools for documentation, but as embodied ways of thinking, giving visibility to the movement of thought, also through the body. I hope to find ways of understanding knowledge as something that can be produced through gesture, rhythm and resonance, and not only through verbal or representational forms. In the context of the poster presentation, these processes and materials will be presented as fragments that make the research process visible, inviting dialogue and reflection. Overall, the expected contribution of this research lies in broadening methodological discussions in arts education and research-creation, proposing ‘walking-with’ as a way of learning, researching and being together that values slowness, care and relational knowledge.

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