This article offers a textual "deep map" of a series of experimental commutes undertaken in the west of Scotland in 2014. Recent developments in the field of transport studies have reconceived travel time as a far richer cultural experience than in previously utilitarian and economic approaches to the "problem" of commuting. Understanding their own commutes in these terms-as spaces of creativity, productivity and transformation-the authors trace the development of a performative "counterpractice" for their daily journeys between home and work. Deep mapping-as a form of "theory-informed story-telling"-is employed as a productive strategy to document this reimagination of ostensibly quotidian and functional travel. Importantly, this particular stage of the project is not presented as an end-point. Striving to develop an ongoing creative engagement with landscape, the authors continue this exploratory mobile research by connecting to other commuters' journeys, and proposing a series of "strategies" for reimagining the daily commute; a list of prompts for future action within the routines and spaces of commuting. A range of alternative approaches to commuting are offered here to anyone who regularly travels to and from work to employ 1

This is an account of Laura Bissell and David Overend's experience of attending a 'mobile train conference', which explored ideas around theatre and nomadism en route from the Finnish capital, Helsinki, to the University of Lapland in Rovaniemi. The account of the journey, which took place on 8 April 2014, reflects on the opportunities, affordances and limitations of mobilising knowledge exchange in this way. Drawing on Michel De Certeau's brief discussion of train travel, the account explores the relationship between the conference and the moving landscape. A mobile train conferenceAs long-distance commuters in the West of Scotland, we have attempted a variety of strategies to use our travel time productively, creatively and as far as possible, transgressively. 1 We are interested in the performance of journeys and the imaginative processes that they engender. Searching for an appropriate forum to share and develop these ideas, we discovered a 'mobile train conference' with a call for papers exploring ideas around theatre and nomadism en route from the Finnish capital, Helsinki, to the University of Lapland in Rovaniemi (Figure 1). 2 Here, we present an account of the journey, which took place on 8 April 2014, in order to reflect on the opportunities, affordances and limitations of mobilising knowledge exchange in this way.The conference took place over 5 days with the train journey on the second day. This day was programmed with panels of two or three papers delivered on a range of related topics, with the

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This article explores the potential of tidal spaces to perform acts of remembrance and forgetting. Using oceanographer Rachel Carson’s The Edge of the Sea to contextualise tidal spaces, this analysis will discuss how constantly shifting and eroding coastlines act as a site for writing, rewriting and performing acts of cultural and personal memory. The concept of tidal choreographies will be introduced via two contemporary works performed on shorelines: 14-18 NOW’s Pages of the Sea, a large-scale public memorial performed on multiple beaches across the United Kingdom on Remembrance Sunday 2018; and Chloe Smith’s Tidal, an intergenerational, participatory, community work which was performed on the shore at Berwick-upon-Tweed in 2015. I will offer reflections on my own collaborative work Tide Times created with Tim Cooper to explicate ideas of the potential of tidal spaces (in this case a tidal island) further. In explicating various artworks which explore ideas of remembrance using tidal spaces, this article will also acknowledge the forgetting that is implicit in performing these actions. The markings in the sand are washed away, community groups that participate in the performance disperse and detritus left is eroded by the elements. What can the legacy of commemorations traced in such a transient and precarious space as a tidal zone be? This article argues that while shorelines provide sites for large and small-scale acts of public remembering, they are simultaneously acts of forgetting as the twice-daily tides cause inevitable erasure.

By critically analysing recent explorations into walking the city as a creative and politicised practice, this paper illustrates how mobile devices can be used as tools for radical play and to encourage subversive use of public spaces. Building on Henri Lefebrve's Writings on Cities (1993) and The Urban Revolution, (2003) this paper will offer new types of technologised mapping as a politicised performative practice that enacts participants 'right to the city'. Australian performance group pvi collective's recent piece Deviator,(2012) sited in Glasgow and other international cities, demands a subversive re-coding of the city via a technological derive, live performance and play. By positioning audiences as interventionists on the streets and encouraging a deviation from the norm the social codes of the city are reimagined and participant-spectators encounter potentially transformative interactions with public spaces.