One evening with Jules and our daughter, Jessi, I wandered a warehouse of open studios near the Willamette River in northeast Portland. We came upon organic chemist David Cordes painting a narrative of organic chemistry and nationalism; a couple operating as florists who sold nothing and displayed no floral arrangements, but urged people to try their homemade sweetbread; and a woman who urged visitors to arrange glass designs from bowls of crushed glass, which she offered to fire in the kiln, with no mention of charge. A startling-lack-of-explicit commerce continued from studio space to studio space. Our last stop of the evening was a space where a tightrope was bolted a foot off the floor.
In Distant Reading, Peter Middleton describes reading a poem as though it has a “long biography.” This approach involves “mining what is available of the aggregative textual archive that composes the textual memory of the poem, its showing in magazines, performance, anthologies, its construal in reviews and commentaries and other treatments” (23).
Affording entrance
Rethinking accessibility
Kaia Sand
One evening with Jules and our daughter, Jessi, I wandered a warehouse of open studios near the Willamette River in northeast Portland. We came upon organic chemist David Cordes painting a narrative of organic chemistry and nationalism; a couple operating as florists who sold nothing and displayed no floral arrangements, but urged people to try their homemade sweetbread; and a woman who urged visitors to arrange glass designs from bowls of crushed glass, which she offered to fire in the kiln, with no mention of charge. A startling-lack-of-explicit commerce continued from studio space to studio space. Our last stop of the evening was a space where a tightrope was bolted a foot off the floor.