Notes


1. 


If we think of the whole operation of a school as a performance, how does that change the ways we teach and learn, or what we think of as knowledge? […] Looking to performances themselves as sites of knowledge, […] we might engage with the public in critically reflecting on and imagining what a school can do and be.

Lauren Bakst, School of Temporary Liveness, University of the Arts School of Dance, 2019

2.


The waters that we comprise are never neutral; their flows are directed by intensities of power and empowerment.
[…] Water’s transits are neither necessarily benevolent, nor are they necessarily dangerous. They are rather material maps of our multivalent forms of marginality and belonging.


Astrida Neimanis, Bodies of Water: Posthuman Feminist Phenomenology, ed. Richard Kerridge, (London: Bloomsbury Academic, 2017)

3. 


- How do we arrive?
- We arrive by land and by sea- 
- How do we leave?
- The same I think.

Our arrivals and departures, our minor and major trips - for tourism and work, from war and hunger, for pleasure or survival - constitute lines. Speculative, spectral, these lines are easy to imagine when we conjure the map they cross, charting so much blue, all that signified water, sea or channel.

Such lines are easier to imagine than the trips themselves, their air and ocean and turmoil. But when we trace our journeys on an actual map- whether artist or tourist, writer or refugee, driver or politician- we see how we have passed through other lines, ones not dictated by our movement but directing it, often stopping it.

- Borders, they're called.
- Who calls them that?
- States, those metaphoric and very real islands.
- What's a border?- A border is a line.

Quinn Latimer, Like a Woman: Essays, Readings, Poems, (Berlin: Sternberg Press, 2017)