The portfolio of published work focuses upon my own artistic methodology and approach to contemporary art practice that I have termed 'discursive performance'. This has been established through my manipulation of the guided-walk form that I have distinguished from other categories of 'performance art' or 'live art' by describing as 'manoeuvres'. Each 'manoeuvre' has involved the recitation of quotations each of which have been brought to bear upon the route through pre-designed association with particular stopping points en route. The quotations have been culled from various subjects and amount to a discursive web of information. Through this 'discursive performance' (the combinations of documentation, textual exploration, guide-publication and live presentation), the suite of publications proposes my work as a new mode of performative practice based upon the politics of the 'de-centred body' and the performativity (doing) of 'history'. The utilisation of the walking tour as a vehicle to understand this has also offered this practice up to public scrutiny. The work has been registered in academic journals on History, Architecture, Geography and Contemporary Art as a new approach to understanding concepts of 'space', 'place', 'memory', and 'history'. The accrued programme of work forms a plank in an argument for experiential knowledge which is heteroglossic in nature, and which tests generalised notions of 'interdisciplinarity', 'site-specificity', 'performance', 'poetry' and the 'memorial' analysed in terms of the following threads: 'zone'; 'place' and 'history'. The published work forms a methodology that has emerged over time as a resistance to notions of 'objecthood' in art. In turn, this methodology (discursive performance) has made possible new works of imagination (each 'manoeuvre'). This performative approach utilises process in the public realm to open out discursive potential to both producer and participant.