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Quote by Sara Desai

“Seriously? I wouldn't need to be rescued. I would find out which way was downhill and locate the nearest water source to follow or I'd climb high and look for gaps in tree lines due to roads, power cables, or train tracks. At night, I'd look for artificial light sources..." I paused when I noticed the smirk had been totally wiped off Jack's face. "Do you want me to tell you how I'd read the night sky? I can do that, too. Oh, and I also know how to make a fire out of sticks and build a rudimentary shelter. I joined an orienteering club when I was a kid to learn outdoor survival skills, and every Christmas I asked Santa for survival gear." Silence. "Boom." I opened my hand and closed it again, giving Jack my most satisfied smile. "Mic drop.”

Quote by Sara Desai

Book:'Til Heist Do Us Part
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'Til Heist Do Us Part

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Sara Desai

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“How much of my body is really me? My face is me, for sure. Anyone who looked at my face would know it was me.Even with my hair wet and drawn back it's me. But after that? If I showed myself a picture of myself from the shoulders down, would I be sure it was me? Could I identify myself that way? I close my eyes and ask myself what my feet look like. I only kind of know. Same with my hands. I have no idea what my back looks like. I let it define me, but I can't even define it.”

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“Regardless of the medium, performance artists explicitly explore and enact their holistic autonomies and interiorities (gendered, spiritual, emotional, and political), not simply their bodily corporeality. If this process takes place within a recorded electronic or digital environment, it is the medium that is virtual, unreal or disembodied, not the human performer within it. In the performance arts, whether in a theater, on a street corner, or on a computer monitor, the medium is not the message (and never has been); the performer is. [. . .] The dislocation and fragmentation of the body in digital performance is an aesthetic praxis which deconstructive critics have hungrily grasped and mythologized, holding up the virtual body as the central icon (immaterial, disembodied), whereas in actuality, it operates as an index, as another trace and representation of the always already physical body.”

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Book:Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation
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