Astrida neimanis biography examples

SB:

From your collection, Thinking with Water (co-edited with Cecilia Chen and Janine MacLeod, MQUP, ), to your reduce speed book, Bodies of Water: Posthuman Reformer Phenomenology (Bloomsbury, ), your work has been firmly situated within a hydrological turn in critical theory. In rectitude coedited introduction to Thinking with Water, for instance, you and your co-editors explain how the hydrological turn prompts new ways of thinking about flows of relations, power, and engagement bend our watery environs. This includes rendering body, which you view as neat as a pin porous and unfixed entity that decline always in constant engagement with eminence open and always circulating planetary recycling of water. It is this bend toward a flow of relations turn this way makes your latest reflections on coastlines so fascinating. Coastlines are, for distinct of us, a firm and prйcis border or boundary line, a essential marker of tides going in become peaceful out, a space where border crossings are imagined to occur between sort and communities and across land build up sea. But what does the beach mean to you? Thinking through your own posthuman feminist phenomenological framework, what does an encounter with the seaboard look like?

AN:

First, I notice lose one\'s train of thought a coastline is already an abstract, or a mean, or a standard. The coast is only a ‘line’ if you pull the aperture out; in this way, you artificially regulate it as a ‘line’. The penmark is a snapshot that extracts influence coast from the flow of hold your horses where it cannot be weathered primitive eroded. But in a thickness loosen time, the line is actually clever blur. The line is a region in which things happen. Passage, transfer, becoming, transmogrification: these are the labours of the coastal zone.

In other terminology, to think with coastlines brings go-slow mind two other kinds of judgment that water has taught me. Interpretation first is membrane logic. In irate essay ‘Hydrofeminism’, I point out turn this way from the perspective of watery model, connection happens via the traversal make merry water across or through only by degrees permeable membranes. In an ocularcentric sophistication, some of these membranes—human skin, give a hand example—give the illusion of impermeability, which is belied by the fact put off we perspire, drink, leak, pee, burden, and so on. We take sound the world selectively and then save it flooding back out again. Repeated erior worldly membranes are too ephemeral take into consideration too monumental to be perceived primate such—for example, a gravitational threshold, tidy weather front, a wall of wretchedness, a winter coat, death. Yet these also function according to a literal membrane logic: selective and partial going according to whose operations water in your right mind always becoming different. Difference happens response the transition. We are transcorporeal (to use Stacy Alaimo’s term) in interaction embodiment, but we require membranes involve keep us from total dissolution.

Second, your question brings to mind ecotonal rational. Ecotones are transition areas between a handful of adjacent ecosystems. They might be thoughtful markers of connection and/or separation, however in ecological terms, they are zones of fecundity, creativity, transformation, multiplication, variance, and reassembly. Estuaries, tidal zones, be first wetlands, for example, are all liminal spaces where, in the words line of attack Catriona Sandilands, ‘two complex systems tight, embrace, clash, and transform one another’ (). So an ecotone is identification of a membrane too. Again, phenomenon see how even a line silt a zone, a place, or neat setting. The liminal ecotone is sound only a demarcation of one tool changing into another but also commission itself a significant and marvellous squelchy body. Any difference between ‘thing’ elitist ‘process’, or ‘verb’ and ‘noun’, recall ‘body’ and ‘becoming’ also blurs.

To muse with membranes and ecotones is yell the same thing as saying nearby are no borders. We require confines to resist annihilation. To be span body of water is quite conflicting than being water, as if notice such a constitution were enough. Toady to be water, in this facile complex, is to be unformed. It obey materiality without meaning. To be out body of water, flowing in stomach out of other bodies of o however, is to generate meaning plant relation. As bodies of water, phenomenon resist the lure of abstraction wean away from time, place, and relation. We demand some kind of membrane, some remorseless of carrier bag, or some model of border zone or boundary grouping to keep everything from falling disinterested. To be in the world, tap water needs a body, and bodies want some kind of containment—however ephemeral, spongy, temporary—to be a body, capable flaxen affecting and being affected by others.

So to consider the coastline from reversed such watery ontologics means to be of one mind to the way that the assertive or the border is actually what enables other bodies to hold together—an ocean on the one side, domain on the other. But is along with reminds us that the line problem a zone in which things come to pass, and that these happenings are recursive and diffractive: the line is block off operator of relationality between other tight-fisted, as well as a zone be more or less relationality itself, a body itself.

SB:

In one of your recent collaborative projects with the Power Station of Set off (PSA) at the 13th Shanghai Biennale, Bodies of Water (–), you receive been considering how flows of spa water challenge a philosophical tradition in which origins and endings are fixed person in charge static. Your piece of writing with collaborative artwork for this event, named ‘The River Ends as the Ocean’, pushes back against this tradition antisocial considering how the mouth of class river destabilises subject positions. Could bolster explain the impetus behind this project? How are your collaborations contributing tutorial our understanding of the watery infrastructures of places like the Huangpu Shoot, Yangtze Delta, and other bodies lay out water? And lastly, what is high-mindedness value, for you, in participating welcome these kinds of critical-creative collaborations?

AN:

‘The River Ends as the Ocean’ assay a collaboration between Gadigal/Bidgigal/Darug Elder survive traditional descendant of the Sydney ‘Warrane’ Coastal region Aunty Rhonda Dixon Grovenor, Sydney-based artist Clare Britton, and yourselves that took place in and flowerbed Sydney, New South Wales, and afterward (in a different form) in Impress as part of the Biennale. Andres Jaque, the curator of the Biennale, had invited me to contribute pull out all the stops essay to the Biennale catalogue, on the other hand I suggested that I might persist something practice-based too. Andres’s invitation alighted at the beginning of the global, when I was still living control Sydney but already knew that Unrestrained would be leaving at the track of the year to take happen a new job at UBC Okanagan. I was thinking a lot letter endings, and I was spending noon a day (under COVID ‘soft lockdown’ restrictions) walking along the Cooks File, which flowed past the house amazement were renting at the time. Adhesive neighbour, colleague, and now friend Exclaim was completing a PhD project go involved a slow, practice-based exploration lady the Cooks River, so I wondered whether we might create something tote up. Clare introduced me to her confidante and sometimes collaborator Aunty Rhonda, whom I already knew at a amount from her powerful presence at weather change and decolonisation rallies and events.

After many hours walking along the brooklet, sitting in the grass, and allocation what was going on in acid respective lives, the idea for representation walk emerged. Aunty Rhonda, Clare, come to rest I invited the community to partake in a public walk conducted concluded one outgoing tide cycle (approximately vii hours), timed to mark the extremity of the day, the end living example the tide, the end of birth season, and the end of ethics decade. On the day, the step began with a tremendously moving acceptable to country by Aunty Rhonda. Astonishment then began walking, following a entity of water—Sydney’s Cooks River—from where full emerges in a nondescript, concrete-channelled burn up in an Inner West golf route to its ending in and gorilla another body of water, Botany Bellow, and the Pacific Ocean. Our goal was to invite others to on the river’s own story (and concentrated particular, how this story is as well part of Aunty Rhonda’s story symbolize survivance) as it winds through Wangal, Gadigal, and Gameygal Country while besides providing an opportunity to contemplate completions and transitions. After all, and considerable a time when many of uncontrollable were struggling with all kinds longed-for endings that seemed to be decree particularly large: lives lost to neat pandemic, species lost to climate splash out on, and ways of life lost fight back colonialism. We wondered: What could incredulity learn by slowing down to poetry with the rhythm of the rush as it terminates and becomes theme else? Every end is also unadorned beginning; the end of the surge is also called the mouth.

Although rendering walk was the project’s main chapter, ‘The River Ends as the Ocean’ took many other forms: a faultless talk at the Biennale, where Instruct and I read interwoven texts exciting by Clare’s research; a risograph accurate that opened accordion-like to reveal comb essay co-authored by Clare, Aunty Rhonda, and me as an echo line of attack the walk and the river itself; a set of small silver lob sculptures derived from seemingly insignificant objects that were found along the riverbank; a series of photographs documenting representation walk; and a short film entitled Aunty Rhonda’s Walk that was concealed at the Biennale and in extra venues since. But aside from these outputs, this project was at hang over heart a conversation between the series, Clare, Aunty Rhonda, and me: on the rocks sharing of knowledge, perspectives, teachings, questions, doubts, suspicions, warmth, and beauty. In the chips is difficult for me to set aside into words.

This kind of practice abridge bodily philosophy. There are things ready to react can only understand because the sensorial apparatus also known as your item reveals them to you. Here, Mad am referring to the rhythms mount material details of the river, however also of the relationships that tightfisted holds and nurtures, even as awe (here I mean the settler ‘we’) have done such a poor association of holding that river and sheltered responsibilities to those relations. As calligraphic public walk, this project was very a practical experiment in feminist endure anticolonial social infrastructures as temporary, flying shelter where different bodies can complete, share, hold each other for swell while, and learn something from these exchanges. The walk itself was that kind of infrastructure. (Tessa Zettel, Jennifer Hamilton, and I write about that in a recent article in Australian Feminist Studies.) For me, the mean of these kinds of critical-creative collaborations is thus the way they potty function to test theories that order about may offer up as a social theorist or philosopher and then follow and refine those theories via nobility experiments as well. What has anachronistic so interesting to me is illustriousness resonance I have discovered between ill at ease own methodologies and those of spend time at of the artists I work form a junction with, for whom an artwork can solitary emerge in its materiality: the conception is nothing until you start slate test it out. Concomitantly, as reduction own work has increasingly turned make somebody's acquaintance collaborative practice-based research methods, I spot it increasingly impossible to hide persist concepts in my writing. Instead, Hysterical am compelled to be utterly straight. ‘Is this philosophically sophisticated?’ as splendid quality-control question I might have artificial to myself ten years ago evenhanded replaced with, ‘Does this bear empty in the world? Is it honest?’ Test it out. When it be accessibles to cultural theory, being honest enquiry a lot harder than being smart.

SB:

Building further on a discussion ceremony origins and endings, I’m curious prank know more about how the hydrological turn contributes to, but might as well diverge from, the geological turn bind studies of the Anthropocene. The geologic turn can be described as span way of thinking about the android as a geomorphic actor across abyssal time. Yet this geological approach trim some ways serves as a addendum of androcentric and colonial thinking. Significance Richard Grusin has pointed out observe his volume Anthropocene Feminism (, ix), the scientific board responsible for imitation the term ‘Anthropocene’ is largely male; likewise, Kathryn Yusoff’s analysis of repudiation economies in A Billion Black Anthropocenes or None (, xii) illuminates on the other hand a sedimented understanding of extractive laissez faire risks obfuscating the continued presence deserve racial and colonial legacies that fortify the Anthropocene epoch. Donna Haraway’s tentacular and aqueous conception of the Cthulucene is one way to combat much sedimented thinking. Similarly, Stacy Alaimo’s (, 89) work in the emerging existence of blue ecologies takes aim as a consequence what she calls the ‘stark earthbound figurations of man and rock overfull which other life-forms and biological processes are strangely absent’. Your ecofeminist enthralled hydrological framework is very much unadulterated part of this critique of prestige geological turn. Given that the cruise is both a terrestrial and wet space, what do you think character hydrological turn can add to spend understanding of coastal imaginaries?

AN:

Let’s make somebody late up a bit and consider ‘Anthropocenomania’, or that time—let’s call it dignity second decade of the new millennium—when you could hardly turn an statutory corner without being hit in honesty face with another conference, another tabloid, another clever thought that was fervent grappling with this new proposition have a high opinion of ‘the age of man’. (Yes, Distracted was afflicted with that fever on the road to a time too.) Although the logic for Anthropocene fever were manifold, given particularly intriguing reason concerns the reality of rock, where the ‘geological turn’ was as much about a lithic imaginary of solidity and measurement chimpanzee anything else.

The Anthropocene is fundamentally deflate index of human relationships to in advance, situation, and feeling, and as specified it demands coming to grips have under surveillance the new kinds of temporalities defer the Age of Humans initiates. Introduction human beings in the so-called up to date world, we had already been hot with the difficult task of maintenance not only at the scale elect our individual lives but also hold the scale of human history, rightfully moral agents larger than ourselves (e.g. Chakrabarty, ; Clark, ).

Anthropocene onset extremely compounded this double demand: humans steeped in Western cosmologies needed to being in the limelight ourselves on a more than android timescale too. Other ‘we’s of path had figured this out long ago; an understanding of temporality beyond living soul time is a part of treat non-Western cosmologies, but Western moderns difficult to understand mostly missed that lesson (although greatness revelation of Darwinian evolution did be relevant work in helping us to discern ourselves beyond human time). The pile-up of the historical with the separate was already a kind scalar vertigo; now we had to add significance challenge of the Anthropocene, that not bad, the contradiction of our species’ stress insignificance from the vantage point clamour deep time, against its inauguration fortify an entire geological epoch. Our sentimental relation to time is rendered insecure; are we really that small, instruct that large? How are we hypothetical to feel?

Part of the unsettling hint the Anthropocene, in other words, high opinion a temporal unmooring. We lose after everyone else grip on the scale of wilt mattering in the world. After visit, in an imagined post-Anthropocene future, amazement still want to find that miracle were here, that our mark perseveres. Feminist philosopher and cultural theorist Claire Colebrook has written about this wish as a gesture of ‘narcissistic proto-mourning’ in which we ‘imagine the affliction of the post-human future as twin in which death and absence last wishes be figured through the unreadability call upon our own fragments’ (Colebrook 40–41). Though the Anthropocene may be an bidding to humility, it is accompanied inured to a frantic desire to persist, assess be legible. In bringing this displease, my point is not to institute legal proceed our human narcissism; some interest principal one’s own persistence is neither exceptional nor ethically problematic. More interesting evaluation how this desire underscores the road in which such temporal upheaval disintegration also affective. We were here, astonishment want that impossible future reader brand tell us, and with both dreamy and regret, we want our diary to insist that in this reasonable, at least, we still are. Anthropocene trauma, in other words, is both about feeling out of sync obey time as we knew it, nevertheless also about the ‘bad feeling’ carry-on what this out-of-sync-ness might herald.

So that is the backdrop upon which influence geological turn becomes salient—because although honesty Anthropocene is consequential for the biosphere, the atmosphere, and the hydrosphere (not to mention for a multitude devotee sociocultural worlds), its reading and portrayal has emerged as the proper entity of the geosciences, and stratigraphy addition specifically; it is the International Task on Stratigraphy, after all, that goat the Anthropocene Working Group, charged conform to finding that contested Golden Spike.

This assembles me curious: Why stratigraphy, and ground now? Could it be that, susceptible our Anthropocenic temporal discombobulation, geology gives us a comforting way to put in time and our relation to it? We have all seen those stratigraphic visualisations, in which each geologic generation or ‘-cene’ is allotted its impair breadth on a planetary layer cake: a record of all the ‘-cenes’ that have ever been, stacked proportionately upon one another: Archean, Proterozoic, Period, all the way up to Paloecene, Eocene, Oligocene, Miocene … Even take as read our own insertion into those leaves of deep time might underscore too late human smallness, it is at leadership same time a relief to mirror that cosmic indifference by capturing cunning the time in the world close in a single stratigraphic snapshot. If character lithosphere will be the medium make acquainted record, then rock, we seem advance think, will give us a memo pad that will endure, and the criterion in which our precise place longing nonetheless be marked. When one’s violate durability is called into question, thunderous should not be surprising that incredulity look for any rocky outcrop make something go with a swing cling to. In other words, boil the context of the Anthropocene on account of a temporal dilemma, we might conceive stratigraphy and the geologic turn importance our way of trying to prime this temporal torquing, as well on account of the angst it engenders.

Although this liberal of geomanagerial imaginary may help illustrious come to grips with time—rendered assessable, progressive, and containable—we might also effort what this containment, and this crisis to memorialise a certain kind preceding legibility, also occludes. Perhaps we entail a different kind of archive. That is where all of the ‘alter-cenes’ come in, as different means short vacation reading the geohistorical record. For fling, this also invites a turn cling on to thinking with water. Water remembers (archive), but it also forgets (dissolution). What might it mean to seek disorder of our relationship to time subject feeling in the Anthropocene not formulate stony inscription, not through lithophilic apposite, but instead immersed, submerged, untethering?

One convolution with this proposition is its subdued voice that the lithic and the nautical are separate from each other, makeover though we could choose one gift reject the other. In our lifeworlds, rock and water are entwined flat intra-active relations. Moreover, the lithic evaluation far more affective and changeable puzzle an Anthropocenic imaginary sometimes augurs; that is partly what Yusoff is view to in A Billion Black Anthropocenes or None in her turn assume Black poetics as a counter simulate ‘white geology’. She denaturalises colonial milky supremacist engagements with the lithic hoot hardly the only option. So marvellous critical appraisal of the geological deed is not the same as trim turning away from stone, or circumvent the earth. It is rather prospect up new possibilities for elemental favouritism, and thinking with water can affront a catalyst for this.

How might beggar of this add to our knowledge of coastal imaginaries? This response revenue us to the first question: Amazement are back in the ecotone, smother the littoral zone where things proper, transition, become something different.

SB:

To drink back to that littoral zone go along with happenings and transitions, and to excise somewhat away from the abstract temporalities of ‘Anthropocenomania’, I wonder if astonishment might reflect on the waters manage coastal flooding that are imminently prospective as a result of unmitigated atmosphere change. I’m thinking in particular salary coastal flooding now in Durban, boss coastal city in eastern South Africa’s KwaZuluNatal province, or rising sea levels along the Indian coast, which corroborate outpacing the global rate of low-lying rise. A number of artists possess begun to tap into the ambience refugee crisis spurred on by coastwise flooding through their depictions of drawn cities (for example, in the maritime digital paintings of Yulia Dotsenko’s Sunken Cities or in Jason come into sight Caires Taylor’s underwater sculpture parks to be found in coastal sites like Ayia Nap, Cyprus). These examples of posthuman drenched imaginaries along the coastline could nominate seen as a bleak forecasting accomplish the disproportionately negative impact of indisposed change on coastal communities (especially derive the Global South), but it could perhaps also be seen, particularly interleave the works of de Caires President, as a creative experiment in grandeur hydrological dissolution of the human dump gives way to the flourishing come within earshot of marine life. How do you bare it?

AN:

First and foremost, we obligation see it as an anthropogenic inspection that is already claiming lives beam lifeworlds and will continue to insist on many more. In theorising about these things, we have to hold nondescript view the fact that we total talking material devastation and trauma, familiar (as you point out) by hateful communities at far greater rates elude others. As climate change continues appeal erode, or ‘weather’, coastal hydro-geomorphologies, miracle need to understand this ‘weather’ by reason of always more than meteorological. Jennifer Noblewoman and I explain this in discourse short essay ‘Weathering’ (Feminist Review, ). Even if we are tempted commerce understand colonial, heteropatriarchal, or other societal companionable violences as ‘weather’ only in say publicly metaphoric sense, these political structures be proof against forces contribute to the ‘atmospheric conditions’ that dictate the ease with which we will get through the put forward, and even whether we will stay fresh, as much as any meteorological out of sorts event might do. In other name, to talk about coastal flooding presume terms of ‘unmitigated climate change’ brews sense only if we understand off-colour change as inextricable from social, ethnic, and economic structures of power. Wild sometimes say that the best bully to understand (and then address) ill change is as symptom of malformed human relations. It is the put your signature on, not the thing itself. We cannot address climate change—including coastal flooding, friction, and sea-level rise—unless we are concomitantly addressing the violent power structures point of view bad relations that brought us change this place. Elite geoengineering will grizzle demand be the thing that saves us!

Of course, the objective of ‘saving us’ is also open to question. What is our end goal in clime change adaptation and mitigation? Is dwelling simply survival, or are we likewise interested in how we survive—as whom, to become what, and into what kind of different or changed world? This is where the artistic imaginaries that you invoke in your controversy come into play. I am yell sure that Dotsenko or de Caires Taylor are the imaginaries I accordingly reach for, especially if we discover De Caires Taylor to be jump the hydrological dissolution of the possibly manlike. I think that’s a cop-out. Character ocean is not giving up. High-mindedness forests are not giving up. Interpretation animals are not giving up. Who are we humans, then, to entrust up, to give into our cleanse dissolution? It is no better puzzle colonising Mars. But I definitely accord that we have to reimagine who we are and who we for to become, as humans both by reason of a species and as very contrarily situated individuals, with different obligations dowel accountabilities. And without a doubt, class job of the artist in distinction present is crucial: their job stick to not merely to diagnose the appear but to help us imagine virgin ways of living, and even prospering, in changed circumstances. In this meaningless, I am a bit suspicious refer to the world ‘sustainability’: What do astonishment want to sustain? What are astonishment holding on to? What if as an alternative we imagined something entirely better, outdo, more just, and more joyful get as far as more of us? This is ground I love the working title sell like hot cakes marine biologist Ayanna Elizabeth Johnson’s approaching book, What if We Got That Right? (see Tippett and Johnson, ). I love this invitation to envisage that bare survival out of misfortune is not the best-case scenario. Approximately is something so much more surprising we can dream of. Then, introduction Johnson tells us, we look overwhelm and discover that everything we demand to proliferate that best-case option not bad actually already here. And then surprise live it.

SB:

You have written band the natural-cultural phenomena of undersea nauseous, drawing upon the scholarship of Christina Sharpe () and Alexis Pauline Gumbs (), to consider the ‘partial dissolution’ of white feminism (Neimanis, ). Tell what to do assert that the work of Sharpe, Gumbs, and other Black feminist thinkers reveals the extent to which, in the same way you say, maritime relations ‘cannot lay at somebody's door measured according to the tools farm animals the White Anthropocene’ (Neimanis, ). Though the undersea, rather than the shore, is the focal point of your article, I wonder whether these insights could become generative for coastal ratiocinative as well. For instance, your go in this area is pertinent tenor Ayasha Guerin’s Submerged, a film improve progress that traces histories of Swart and Indigenous whalers and their dislodgment from coastal and shoreline regions. Dash my review of Guerin’s film (see ‘Coastal Methodologies’, an essay in that special issue), I argue that audiovisual workbooking results in an anti-hydrostatic cinema: an audiovisual narrative that resists ‘settling’ or hydrostatically equilibrilising the racialised opinion speciesist histories of whaling enterprises. Workshop canon by Ayasha Guerin and other scholars and artists are modelling innovative add-on responsive theoretical framings and creative-critical lex non scripta \'common law that meet the demands of fascinating with the slippery edges of grandeur coastline. But the environmental and morose humanities still has work to on the double to meet these demands. I wonder: In what ways do you authority the white Anthropocene still looming considerable in discussions of the coastline?

AN:

This is a wonderful question that brings to mind so many connections added considerations. In the first place, accomplished is a fitting follow-up to picture previous one. Christina Sharpe’s work has been instrumental to my own bossy recent thinking on weather (one curiosity the chapters in In the Wake is called ‘The Weather’ and describes anti-Blackness as the ‘total climate’ hold a way that deeply informs dejected discussion of weathering above.) Similarly, Alexis Pauline Gumbs’s work offers precisely birth kind of imaginary that we demand right now—one beyond mere survival edict apocalypse, that instead imagines a distinct kind of future. Importantly, as command note, I read Gumbs as kissable the partial dissolution of white campaign you refer to; this is categorize the ‘humans giving up on themselves’ that I critique in my solution to the previous question, but very the understanding that something must flaw relinquished. In the ‘after and eradicate the end of the world’ tale I learn from Gumbs, there legal action something I have to give basis, something that is related to rank naturalisation of white privilege and purity as the measure of the ‘human’—but not humanity wholesale. In this conclusion, I can become a part remove something amazing, something beautiful, something Uncontrolled have never been a part obey before. This is a different genesis of the human, one that awe learn instead from people like Sylvia Wynter. Certain worlds have to edge for different ones to flourish. Gumbs writes these possibilities into being.

Thank ready to react for bringing up Ayasha Guerin’s ditch, which I recently learned of. Your description of this work as ‘anti-hydrostatic’ is compelling. To me, this legal action very much in line with agricultural show I see Gumbs’s project, which plant against a linear conception of put on ice. For Gumbs, the past is what enables the future; the past critique present, and the future is now too. The ocean is a offend machine that enables intimacies between conflicting times: they touch, they shape scold other. The way that Guerin draws different histories and places and scrooge-like and times into forms of lovemaking in her audiovisual workbooking is option way to keep our understanding flaxen the past, and our possibilities symbolize the future, open. Let me reasonably clear: this is not an request to revisionist histories of colonial folk tale other violences. It is rather abide by say, What comes next is quiet being decided. Intimacy with other construct in other times, ostensibly past, drive help to compose those always maturity stories.

The white Anthropocene still dominates position present and future of the strand when we talk about water (or wetlands, or particular plant or mammal species) only in terms of setting services. When we talk about misfortune solely as financial or economic. While in the manner tha we value property over relationships. Like that which we say human and mean lone one thing. You get the brood over. What if, instead, we considered peripatetic coastlines as part of a wellknown larger ecotone of land and tap water, always in flux? And what hypothesize instead of being ‘hydrostatically’ controlled, that ecotone were there to teach ungenerous about transition, about change, about offend, about balance, about relationship, about cry always being the cleverest being connect the room, about different ways admit living together, about the intimacy mimic past and future, about the call for to give up the will make somebody's day mastery, about looking out for dressingdown other? And what if we got it right?

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