In “Sound Recordings are Weird: Stories and thoughts about early spoken recordings”, SpokenWeb research Jason Camlot interviews collaborators in the SpokenWeb Network to uncover the stories behind the making of Early Literature Recordings. Drawing from his recent book “Phonopoetics: The Making of Early Literary Recordings”, Jason invites guests Lisa Gitelman, Patrick Feaster, David Seubert, John Miller and Matthew Rubery to question the cultural, technological and personal meaning of early sound recordings. Together they consider how and why we are interested in these early recordings and what motivates scholars to research them and collectors to collect them? What did these recordings mean when they first appeared in the world? And What do they mean now?
Sound Rights Information for Episode 2 can be found here.
Camlot, Jason. Phonopoetics: The Making of Early Literary Recordings. Stanford Universiy Press, 2019. https://www.sup.org/books/title/?id=23893
—. “Historicist Audio Forensics: The Archive of Voices as Repository of Material and Conceptual Artefacts.” 19: Interdisciplinary Studies in the Long Nineteenth Century 21 (2015). https://www.19.bbk.ac.uk/articles/10.16995/ntn.744/
Connor, Steven. Dumbstruck: A Cultural History of Ventriloquism. Oxford: Oxford University Press, 2000.
Ernst, Wolfgang. Digital Memory and the Archive. Ed. Jussi Parikka. Minnesota: University of Minnesota Press, 2013.
Feaster, Patrick. “Framing the Mechanical Voice: Generic Conventions of Early Sound Recording.”
Folklore Forum 32 (2001): 57-102.
Gitelman, Lisa. Scripts, Grooves and Writing Machines: Representing Technology in the Edison Era.
Stanford, CA: Stanford UP, 1999.
Naremore, James. Acting in the Cinema. Berkeley: University of California Press, 1988.
Rubery, Matthew. The Untold Story of the Talking Book. Cambridge, MA: Harvard UP, 2016.
Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC and London, UK: Duke
UCSB Cylinder Audio Archive, http://cylinders.library.ucsb.edu/