Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.comEmily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com

• Foreword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell

Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.comEmily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com

• Foreword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell

Katja Hilevaara is a collaborative artist, researcher and teacher who works in performance, installation and art-writing. Her research is concerned with (mis-) remembering, creative constraint and ideas surrounding maintenance, care and enchantment. She lectures at Goldsmiths, University of London, UK. www.katjahilevaara.comEmily Orley is a practitioner-researcher whose work includes performance, installation and art- (or place- or commemorative-) writing. She has been making work on her own and in collaboration for 17 years and currently lectures at the University of Roehampton, UK in the Drama, Theatre and Performance Department. www.emilyorley.com

• Foreword Jane Rendell; Introduction Orley and Hilevaara; Section One: Manifesto (How); I Am for an Art Writing Susannah Thompson; Lyric Theory PA Skantze; Notitia, Trust, and Creative Research Iain Biggs; Writing Without Writing: Conversation as Material Emma Cocker; The Distracted Cyclist G D White; Footnoting Performance Mike Pearson; An extract from Asara and the Sea-Monstress: a Play with Theory Mojisola Adebayo; Same Difference Nic Conibere; Critical groundlessness: Reflections on embodiment, virtuality and Quizoola LIVE Diana Damian Martin; A Conjuring Act in The Form of an Interview Augusto Corrieri; Yoko Ono Fanfiction owko69 (Owen G. Parry); A Fugue State of Theatre Joe Kelleher; Writing with fungi, contagious Taru Elfving; Middleword One Peter Jaeger; Section Two: Position (Where); The Blind & Deaf Highway Woman Undine Sellbach and Stephen Loo; Writing about the Sound of Unicorns Salome Voegelin; Far Stretch – Listening to Sound Happening Ella Finer; Instructions for Literature and Life: Writing-With Landscape Performances of Joy Helene Frichot; Thirteen Points, Expanded Kristen Kreider and James O’Leary; Returning in the House of Democracy Brigid McLeer; Dancing Architecture: Architect-Walking Cathy Turner; Dolphin Square to MI6 Walk – produced by Disappearing, almost Phil Smith; It Moves: reflections on walking as a practice of writing Mary Paterson; In departures, not departing Tim Etchells; Within the margarine of error: on performing Michael Basinski’s ‘The Germ of Creativity’ Chris Goode; Elfie und Elsinore (fur Heidi) Hayley Newman; Marking a Life Mitch Rose; Middleword Two Maria Fusco; Section Three: Beside-ness (Whom); Stains & Other Traces: Notebooks and Critical Practice Simon Piasecki; An Actor’s Attempt at Sisyphus’ Stone: Memory, Performance and Archetype Goze Saner; 81 Sentences for Squat Theater circa 1981 Lin Hixson and Matthew Goulish; Language, Lips and Legacy: a pedlar’s life for me Tracy McKenna; A Series of Continuous Accidents Rajni Shah; The Construction of Self(ies) Joanne ‘Bob’ Whalley & Lee Miller; The Path on the Floor and Other Uses of Hand-drawing Karen Christopher; Searching for the ‘bandaged place’ Louise Tondeur; The Catalogue for the Public Library of Private Acts Johanna Linsley; Field Notes from a Choreographic Practice Lucy Cash; K.Bae.Tré Douglas Kearney; Middleword Three Timothy Matthews; Afterword Jane Rendell