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Category Archive

SpokenWebPod Listening Party – Mavis Gallant, Part 2: The ‘Paratexts’ of “Grippes and Poche” at SFU — Jun 07, 2021 (Events)

Virtual Participation

We dive into what we’re calling the “paratexts” of the reading: the material and contextual circumstances that informed Gallant’s performance. These include an unrecorded and unarchived event that took place the day before; questions about the audience; the theatre; and the physical tape itself. We interview Ann Cowan-Buitenhuis and Carolyn Tate, who attended and contributed to the organization of the two events, and talk to Grazia Merler, a professor at SFU and friend of Gallant’s at the time of the reading. Their contributions provided both memories and facts not captured by the archival remains of the reading.

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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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The Power of Listening to Voices: An Interview with Nina Sun Eidsheim (Post)

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On Thursday, May 20th, 130-3pm EDT, Nina Sun Eidsheim will deliver a keynote address as part of the 2021 Listening, Sound, Agency symposium. Titled “Re-writing Algorithms for Just Recognition: From Digital Aural Redlining to Accent Activism,” she will argue that “voice- and listening technologies carry and reproduce the same social bias, discrimination, and racism […] as Kodak film and HP cameras [which] were calibrated for white skin colour.” Elaborating on this important research, Nina generously answered some questions about her current projects and interests, providing poignant backstory to her keynote, and inviting all readers to events at her UCLA PEER Lab in the next weeks and months.

Interviews, SPOKENWEBLOG, Uncategorized | , , , , ,

The Listener and the Machine, an interview with Mara Mills and Jonathan Sterne (Post)

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Read and listen to Mara Mills and Jonathan Sterne, in conversation with Mathieu Aubin and Katherine McLeod, discussing their recent publication, “Aural Speed-Reading: Some Historical Bookmarks,” PMLA 135.2 (2020). Mara Mills and Jonathan Sterne are plenary speakers at the SpokenWeb symposium, Listening, Sound, Agency (May 18-23, 2021).

Interviews, 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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Provocative Listenings: Andrew McEwan on Hannah Weiner’s “selvesothers” (Post)

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I was excited to talk with Andrew McEwan, whose research on Weiner’s performance of Clairvoyant Journal speaks to these very textual and aural qualities of the work. After speaking with Andrew, I returned to Weiner, listening for what he—provocatively, to use his own terms—theorizes as her “selvesothers.” I invite you to do the same and to reflect on how it might shift your reading.

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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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