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Category Archive

Mêler les Arts, Sciences et Cultures: À L’écoute des Métamatériaux Acoustiques avec Georges Roussel (Post)

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Cet hiver, Stéphanie et Mathieu ont eu le plaisir de discuter avec le groupe de chercheurs et artistes derrière le projet « Auxauralités ». Voici notre entretien avec Georges qui nous parle plus en détail de son travail collaboratif sur les métamatériaux acoustiques. – –
This winter, Stéphanie and Mathieu had the pleasure of discussing with the group of researchers and artists behind the “Auxauralités” project. We interviewed Georges to talk in greater detail about his collaborative work on acoustic metamaterials.

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On Literary Machine Listening and Pedagogy: The Praxis Studio with Julie Funk, Faith Ryan, and Jentery Sayers (Post)

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This summer, I reached out to Jentery Sayers with some questions about his research on voice user interfaces. He told me his research had veered in new directions and proposed that we discuss other related projects happening at The University of Victoria, where he teaches, and runs the Praxis Studio for Comparative Media Studies. He suggested I get in touch with Julie Funk and Faith Ryan to learn more about what’s happening at the lab, which I did. Here’s a peek into their innovative work: ‘literary machine listening’ and teaching audio in fiction in the classroom.

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“Dubbing It Into the Earth”: A Conversation with Kaie Kellough (Post)

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Calling Kaie Kellough an ancestral voice is maybe presumptive or even paradoxical, considering the bold aesthetic leaps in his work, and his widening reputation as a necessary innovative voice among a rising generation of writers in Canada. Whether it be in the circuitry between voice, image, and jazz of his collaborative “UBGNLSWRE” with musician and composer Jason Sharp and Kevin Yuen Kit Lo, or in the lyrical torrent of his Magnetic Equator, winner of the Griffin Poetry Prize (McClelland & Stewart, 2019), Kaie’s poiesis is undeniably futurist. It’s from the futurism of his writing, however, that the ancestral surfaces. He is attuned to the frequencies of many Black histories unfolding all at once. The ‘past’ still reverberates with the same intensity. By weaving memoryscapes across continents in Magnetic Equator and the fiction collection Dominoes at the Crossroads (Véhicule, 2020), Kaie’s work splashes in history’s restlessness. History never knocks politely. It seeps in through the floorboards. Kaie is unafraid to go down with its tide.

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Sound Walks, Sound Talks: An Interview with Andre Furlani (Post)

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Back in the summer of 2020, still in the early months of the COVID-19 pandemic and its wide-ranging social restrictions, MA student Andrew Roberge initiated an interview with Listening, Sound, Agency symposium participant, Andre Furlani, whose recent research explores the poetics and politics of ambulation, or, walking. In this interview, learn more about Furlani’s research into the relationship between walking and sound, and about his interest in particular kinds of soundwalks.  The topic seems especially poignant now, so many months into the pandemic, when walking, and simply being outside and listening, have become cherished activities for much needed sensuous experience, and for our sense of connection to our environments, and to others (even if, at a distance).

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Extending Genetic Criticism to Audiotexts: A Conversation with Jason Wiens (Post)

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Jason Wiens’ interest in teaching poetry with sound recordings has led his critical attention back to a tradition of textual analysis that emerged in France in the late 1970s, known as “genetic criticism” (La Critique génétique), with its interest in approaching texts as entities whose emergence is traceable through the study of “avant-texts”.  In this interview conducted by Jason Camlot, Wiens talks about recent experiments and assignments he has used in teaching Canadian poetry with sound recordings, and explains his interest in genetic criticism as it relates to the study of audiotexts.

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Aphasic Poetry: Making sense of it with Katharina Fuerholzer (Post)

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It seems appropriate that Dr. Katharina Fuerholzer would recommend the soundtrack to the hit series ‘The End of the F***ing World’, considering the state of the world, but more too, her work on aphasic poetry in Harryette Mullen’s ‘Sleeping with the Dictionary’. The songs are fitting— romantic and unnerving— in the way that Mullen’s dictionary— “In the dark night’s insomnia, the book is a stimulating sedative, awakening my tired imagination to the hypnagogic trance of language”—is. Listen to the soundtrack while you read the following interview (and, let it spill into your other work), where I talk to Katharina about aphasic poetry, interdisciplinarity, and the femme aphasique. Here, we consider aphasia’s varied metaphoric, medicinal, and literary meanings.

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“Immersive Media” and the Phenomenological Experience of Listening: A Conversation with Deanna Fong and Jon Saklofske (Post)

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As a video game enthusiast, Ali Barillaro was initially drawn to interview Deanna Fong and Jon Safloske because they had submitted a proposal for the Listening, Sound, Agency Symposium about the dark, fantasy-action adventure game, Hellblade. But when Ali sat down to draft some questions for Deanna and Jon, she found herself curious to hear about how their research partnership began and how it has progressed over the past year. So this interview is as much about how research collaborations develop through shared interests in sound and sound studies methodologies, as it is about their recent work on Hellblade.

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Queer Listening: Unsettling the Archive with Mathieu Aubin (Post)

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As a new member of the SpokenWeb team, I was thrilled to connect with Postdoctoral Fellow and SpokenWeb researcher, Mathieu Aubin, and learn about his work in a more specific context than our weekly meetings. Aubin’s research examines queerness in oral histories and audio recordings of literary events, engaging activist and marginalized voices, content, and […]

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An Aural Version of Situated Knowledge: A Conversation with Ellen Waterman (Post)

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Ellen Waterman’s creative and research practices are all about listening together across and through distance and difference. When I spoke with her during our socially distanced summer of the pandemic, I was interested to hear how our current situation has influenced her thinking about what it means to create sound and sound-based work together. What follows is an interview that still attempts to be spontaneous and to listen, even in written form.

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Sound Pedagogy – Teaching the Audible Dimensions of Poetry: A Conversation (plus clips and sample syllabus) with Chris Mustazza (Post)

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In 2018 I had the opportunity to visit one of Chris Mustazza’s interdisciplinary literature classes taught at the University of Pennsylvania, a course called Poetry Audio Lab: Modernism & Sound Studies. I was amazed at how seamlessly he had woven questions of poetics, performance, media history, and digital approaches to listening and analysis into his syllabus.  As one of the early experimenters in teaching poetry through a major audio poetry archive (PennSound), and as a regular collaborator with Al Filreis, another innovator in this area who draws upon the audio archive in his wide-reaching ModPo MOOC, talking to Chris about teaching proved a unique opportunity to think about rationale, methods and effects of teaching poetry with sound.

Article, Interviews, SPOKENWEBLOG