Karinne Keithley Syers makes performance and writes things that resemble plays from a distance. She is also the founder and co-editor of 53rd State Press and a participant-historian of the experimental performance community.
By: Karinne Keithley Syers
Poetry as a life-saving form of thought.
Karinne Keithley Syers on THE HIGH BEAMS
Dance as a place of attuning one’s relationship to biophysical life.
He related the body to every other thing in space.
In search of a democratic philosophical tradition.
He charges us to commit to the world’s relentless unsettling.
Movement is protagonist; dance’s meaning is action.
Linda’s final chapter. It glows, it rings, it sings, it dances, it stops. There’s even a goodbye medley.
Penultimate Linda, retirement adventure or retirement home? Listen to “Fader.”
Linda tours the hollows, sees the preparation of the glowing; nothing utopian about it. Listen to “Under Bungalows”
Part Four of Linda begins, underground at last, with visions of fish scales and as always, a song.
Linda reclaimed, Linda returned, Linda repeats, Linda renounces. The end of Part 3. Plus singing.
Linda (15): pie, a little man, another Linda, cryptic puppets, Shostakovich, and a song.
Linda chapter 26: tunneling, old transmissions from the future, the anthem of interplanetary moles.
Chapters 24 & 25: Nest of N’s: Nashville-NYC-Niagara; plus a song, “Long view”