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Gender, Affective Labour, and Community-Building Through Literary Audio Recordings (Post)

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Introduction This article emerged from the “feminist close listening” methodology we devised together during a collaborative listening session in Montreal, December, 2017. We began the practice of listening to recordings together, in real time, as a way of attuning ourselves to the related inquiries that our archives of interest shared. For Karis, this archive is […]

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Starting out from Véhicule Art (Post)

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How to introduce an introduction. How to warm the stage for the dates, facts, and anecdotes that are already presented in Stephen Morrissey’s reminiscences about Véhicule Art Inc. as an experimental forum for the performance of new poetry, in the 1970s, in Montreal. The Véhicule Poets—again, see post below for the who’s who—have maintained a […]

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What Makes Oral Literary History Different? (Post)

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Oral Literary History (OLH) is one of the primary research axes of the SpokenWeb project. This post offers an overview of what we perceive to be unique about OLH as a discipline, with attention to its theoretical underpinnings, ethics, and methods.  The SpokenWeb project began conducting Oral History interviews in 2012, with people who participated […]

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Unmuting Print: A Conversation with Nicole Furlonge (Post)

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The virtual panel “Teaching with Sound / Sound and Pedagogy,” as part of SpokenWeb’s Listening, Sound, Agency Symposium, brought together scholars on May 19, 2021, to exchange ideas involving sound within the educational context. One of them was Nicole Brittingham Furlonge, who took from her book Race Sounds to present the paper, “‘New Ways to […]

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An “Ecology of Practices”: New Materialism and Ecofeminism with Julieanna Preston (Post)

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In a virtual space somewhere between  Wellington, New Zealand and Montreal, Canada, Preston and I her discussed work in close relation to the conditions, collaborations and trajectories that make it so. The sound of breath, Scandinavian külning, ventilators, cuckoo-clocks and the body all emerged as conduits. Preston’s investment in situating her work and self-situating within it—locating her projects within their particular connections, collaborations, memories, histories and skills—was inspiring, especially at a time of such fragmentation and disjuncture. Hearing Preston’s voice through a frozen screen, persisting over visual glitches and lagged response, not only affirmed Preston’s assertion that “sound always pierces the visual” but too, that sound is a vital index to the present: “it’s always the now.”

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Phonographic Imaginaries: A Conversation with Renée Altergott (Post)

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I was very excited to initiate a conversation with Renée Altergott because her research dovetails with my own in numerous ways.  That said, my own research has focused on the history of early sound recording media technologies (and spoken recordings) in Anglo-American contexts, and Renée’s research explores this historical period of the medium in French […]

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Clint Burnham interviews Dylan Robinson (Post)

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The following is an excerpt from an interview that Dylan Robinson gave for a SFU graduate course taught by SpokenWeb team member Clint Burnham. The full transcript will appear in the forthcoming publication Resistant Practices in Communities of Sound, a collection of critical work and interviews edited by Deanna Fong and Cole Mash. Dr. Robinson will also give a plenary lecture for the upcoming Listening, Sound, Agency Symposium taking place from May 18-23, 2021.

Article, SPOKENWEBLOG

Intimate Papers: An Interview with Julia Polyck-O’Neill (Post)

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What struck me immediately in my chat with Dr. Julia Polyck-O’Neill is her attentiveness to relationality’s many frequencies. Her writing on conceptualism’s legacies and Canadian avant-garde scenes, particularly the Kootenay School of Writing, is necessitated by relations, whether building trust with her research subjects, or investigating the porousness between media and form in artists’ interdisciplinary practices. I was thrilled to learn more about Julia’s current research on digital and feminist interventions into preservation protocols for artists’ archives, which she is pursuing as a postdoctoral project at York University’s Sensorium Centre. She was generous to share some of her emerging revelations on archival intimacies, like being invited to pore over the private collection of poet Lisa Robertson, and oddities (including an archived pizza box!).

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