9/21 Bothell, WA
&Now Conference of Innovative Writing
PERFORMANCE, Sounding Failure: Against Convergence as a Utopian Ideal
Sara Deniz Akant ︎Ashna Ali ︎Daisy Atterbury
10/12 College Park, MD
ASAP/11 Associated Study of the Arts of the Present
PANEL, Poetic Labor and the Articulation of Place
Daisy Atterbury (The Graduate Center, City University of New York) ︎ Maryam Parhizkar (Yale University)︎ Genji Amino (Columbia University)︎ Michael Dowdy (University of South Carolina)︎ Jason Perez (University of San Diego)︎ Farid Matuk (University of Arizona)︎ Susan Briante (University of Arizona)
11/6 Honolulu, HI
ASA American Studies Annual Conference
PANEL, The Politics of Sound, the Sound of Politics
Bernardo Attias (California State University–Northridge )︎Daisy Atterbury (The Graduate Center, CUNY) ︎ Michael Bachmann (University of Glasgow )︎
Abigail Shupe (Colorado State University–Fort Collins)
What are healthy forms of intimacy?
That’s what Daisy Atterbury asked, cross-legged on my living room floor. I knew we had arrived then; that we were not just speaking to each other, but had been re-shifted into another, more dangerous, more productive collaborative zone.
Is it a meeting?
It was the start of the semester, and yes, we had staged a meeting. The goal was to set intentions for the months ahead. Asking questions was our chosen mode and method (s/o to Chy Sprauve). After nearly 15 years of higher ed, I was finally learning to reframe my world into statements of inquiry: in my writing, in my teaching, in my living. It was Daisy was pulling me in.
How do I relate to the social environment that is produced by Daisy’s question, by her poems? What ecologies do these words produce, worlds I’ve been drawn to then into, over the last four years? Even now I find I am wanting to echo her voice in the same moment that I am wanting to write about the particular landscape she’s been sounding. I am wanting to write about her arresting (now colossal) manuscript, Relief Route / The Karman Line, which I’ve been reading in stages. All italics are in Daisy’s words: either from or around that script.
Mateo Galindo, 2018 http://mateogalindo.com/
We begin with the land running under our feet and beyond our purview, stretching out seemingly forever. I don't want to make assumptions because the game doesn't. The idea that we have feet I indicated for the sake of convenience. Only "vision" is alluded to initially. Let's take it out, the feet. We're a floating vantage point. A voice speaks to and around us: