Great start, Amrit! A few comments for you to the left. Here’s my attempt to condense those comments into topics for our conference conversation: > introduction – you’ll want to get to your question sooner. – if you need a narrative history, that might be a stand-alone section at the end of the introduction

Methods: – try reversing the order of that section (conceptual lens first, materials second) – avoid, if you can, narratives about your own process. describe the outcomes of those processes (how you think about these things now). In other words, just summarize the conceptual lenses that you use. – Do your best to integrate the various pieces of your lens using transitions and topic sentences. (see page 7) – I’ve suggested a possible re-ordering that might make transitiosn clearer.

Results: – Here, too, do your best to generate clearer transitions. You might want to remove the topic headings in this section. – I have some concerns about exactly how you’re going to produce those transitions (see comment on page 11). See also page 12.

During/Post Conference Commentary

 AS IT IS – it’s endurance performance art – it’s localist protest – it uses local space to create meaning { – it uses art as a tool for generative/creative protest/expression – professor paragraph – The difference between her project and the classic performance art model reveals the degree to which it departs from non-protest performance art. – it was extended

AS IT COULD BE – it’s endurance performance art – it uses local space to create meaning – it’s localist protest – But while it’s protest, it uses art as a tool for generative/creative protest/expression – The difference between her project and the classic performance art model reveals the degree to which it departs from non-protest performance art. – Crucially, the performance became a site of coordinated global action.