00:07 |
Theme Music: |
Can you hear me? I don’t know how much projection to do. |
00:17 |
Hannah McGregor: |
What does literature sound like? What stories will we hear if we listen to the archive? Welcome to The SpokenWeb Podcast: stories about how literature sounds. |
00:35 |
Hannah McGregor: |
My name is Hannah McGregor and each month I’ll be bringing you different stories of Canadian literary history and our contemporary responses to it created by scholars, poets, students and artists from across Canada. I’m so excited to introduce our inaugural episode Stories of SpokenWeb, an introduction to this very podcast and the project it stems from. SpokenWeb is first and foremost a literary research network dedicated to studying literature through sound, but how did it all begin and how did these audio archives make their way from basements and car trunks to university libraries? In this episode SpokenWeb contributor Katherine McLeod takes us into the lives and archives of some of the founding spoken web members to uncover the origins and future of the project. |
01:30 |
Hannah McGregor: |
Here is “Stories of SpokenWeb” |
01:39 |
Theme Music: |
[Instrumental] |
01:39 |
Katherine McLeod: |
What is SpokenWeb? SpokenWeb is a research program, a network of scholars, students and artists all studying literature through sound. But how did it all begin? What does the story of SpokenWeb sound like? My name is Katherine McLeod and I asked SpokenWeb collaborators at universities across Canada how they got involved in the project. Needless to say, each story is different and there are many more than are told here, but their stories do have a few things in common that tell us something about the project. All of their stories begin with an interest in audio well before SpokenWeb assumed its current form, and all of their stories, or nearly all, involve a box of tapes. In 2014 I joined SpokenWeb as a postdoctoral fellow at Concordia University in Montreal. I met Jason Camlot, the principal investigator or project lead of SpokenWeb. At that point SpokenWeb was based out of one university, but I remember him saying that there was an interest in widening the network. So how did SpokenWeb become what it is today? To answer this question, I spoke with a number of SpokenWeb scholars from across Canada. We’ll start the conversation with one story of how it all began. |
03:22 |
Jason Camlot: |
I’m Jason Camlot. I’m a professor in the Department of English at Concordia University. I am the author of several books about literature and sound recording and I’m the director of the partnership grant of SSHRC Social Science, Humanities Research Council of Canada, called SpokenWeb. I was going to say it began when I was a graduate student and became, in earnest, interested in the history of early sound recordings of literary performance. But I was an undergraduate at this institution at which I now teach, and the first time that I heard an early sound recording was in my Victorian literature class played to me by my professor, John Miller, who later became a colleague of mine for a spell. And he played to this class a barely audible recording of Tennyson reciting “The Charge of the Light Brigade.” And that really piqued my interest and, well, really just what it was that we were listening to and what it meant and what its significance was. So I think the interest in sound recordings of literary works or of something that identified with literature really began when I was an undergraduate. When I went to grad school, I became interested in really thinking about this as a research project. It wasn’t my dissertation project, but it became my second project that you always have to be able to talk about when you go to job interviews and things like that. And at Stanford University they had a pretty good sound archive with a lot of historical recordings. So I was able to look into the longer history of spoken recordings and began to research that topic. I’ve always been interested in sound recording because I play music, and I’ve recorded myself writing songs and playing my own songs or playing in bands with friends since I was a teenager, and I’ve always been saving up for the latest recording device. |
05:41 |
Jason Camlot: |
When I came to Concordia – it’s almost like in this sort of fortuitous moment – I was asked to have a meeting with the department chair in the first week that I was installed in the department, just to go over very practical things. And sitting in his office I noticed, out of the corner of my eye, a bunch of tape boxes – boxes that held reel to reel tapes. And I remember asking him what those boxes contained. And he said to me, “Oh, that’s just some poetry reading series that took place here in the 60s.” And I remembered that, although I didn’t do anything about it at the time. I went about my business of teaching and publishing and getting tenure here at Concordia. And then maybe a decade later I thought about those recordings again and I went back to him and asked, “Do you still have those recordings?” |
06:47 |
Jason Camlot: |
The department had moved floors and I remember we threw out a lot of stuff during the move. So I kind of feared that maybe those reel to reel tapes didn’t make it during the move, but he told me that he had deposited them in the university archives that held the English department fonds, the records of the English department. So knowing that the tapes were still accessible, I started looking into them and found a bunch of boxes again that I couldn’t listen to. So it was a bit of a stumbling block, not being able to actually hear what was on them and I set about trying to rectify that problem, and to figure out whether this collection of tapes might be of interest from a literary point of view. |
07:38 |
Katherine McLeod: |
That was Jason Camlot, the principal investigator or project lead of SpokenWeb. As SpokenWeb grew, researchers began working across disciplines. In addition to working across disciplines in one university SpokenWeb has built collaborative connections across different universities. We’ll hear from researchers at a few of those universities in a moment, but we’ll start first with someone who has been part of the project since the beginning. |
08:07 |
Annie Murray: |
My name is Annie Murray. I’m Associate University Librarian for archives and special collections. At the University of Calgary. What we were really interested in was how a lot of these poets, were going on reading tours. And so the Sir George Williams section was just one slice of literary life in a given year. |
08:32 |
Audio Recording: |
Welcome to the fourth, third, week of the fourth series of our readings here at Sir George. And this one is a special one partly in that it was, it is being presented… [Overlapping audio recordings, exact words not audible] |
08:57 |
Annie Murray: |
And we were imagining these sort of traveling poets leaving behind a trail of recordings or not leaving behind. And wouldn’t it be great to understand where did all these readings end up and could we ever access them in all the places poets would have read to kind of sonically recreate those years of very active poetry reading performances? |
09:24 |
Audio Recording: |
Gets hard to read your own stuff after a while, you forget what it sounded like the last time. |
09:29 |
Annie Murray: |
Cause we knew different archives across the country would have some audio record of these events. And we thought: this should all be brought together. This should be a massive aggregation of recordings so that you could listen to a poet across the country and kind of, just as bands tour, see how a poet toured and how they intersected with other poets. So I think we saw the meaning in the individual readings for sure for literary history and analysis. But that the sort of possibilities opened up by knowing what all readings were preserved and bringing those archives together. And I will say in most cases, these are hidden collections that hadn’t been digitized before. So with a partnership grant, it allows us to bring all of these collections out, focus on them in a different and concerted way and try to create that sort of national recording of all of these performances that had taken place. |
10:36 |
Katherine McLeod: |
The project continued to grow. Now it is in over 13 universities right across the country. |
10:44 |
Michael O’Driscoll: |
I think I’d be remiss if I didn’t say how incredibly grateful I am to be able to work with these materials and with the multidisciplinary scholars that are a part of this project. This is honestly, as I came to recognize during our days together in Vancouver this past summer, this is one of the great research and intellectual opportunities of my career and I couldn’t be more excited to be a part of this. |
11:11 |
Katherine McLeod: |
That was Michael O’Driscoll, professor in the Department of English and Film Studies at the University of Alberta. |
11:18 |
Michael O’Driscoll: |
I’ve been here for the last 22 years and my work ranges across into the areas of critical and cultural theory. Various kinds of media studies. I’m interested in American literature, poetry and poetics. And I spend a lot of my time thinking a lot about archives and thinking about digital media as well too. You know, the lessons of the world’s great archives theorists – I’m thinking about Arjun Appadurai, I’m thinking about Jacques Derrida – is that archives are oriented not towards the past, but towards the future. Archives are how we build community, archives are aspirational. We only put things in boxes and save them because we imagine a future for them. And the true focus of an archive is its own futurity, not the history that it records. |
12:08 |
Katherine McLeod: |
Michael shared with us some background as to how the recordings were made. |
12:13 |
Michael O’Driscoll: |
When personal recording became available, when somebody could pick up a portable or reasonably portable reel to reel recorder and show up at a reading with it, folks just simply started recording everything that moved. There was so much enthusiasm about the new technology. Many, many of the readings that happened in the late sixties and through the 70s and the eighties, eighties, were recorded on reel-to-reel and then subsequently on cassette tape. But one of the realities of that enthusiasm as well as while there’s lots of enthusiasm for the recording, more often than not, those recordings were put in boxes, stored away and never listened to again. And they have as a result, sat inert for the last 50 years or so at this incredible cultural and scholarly resource, untapped. |
13:03 |
Katherine McLeod: |
In fact, many of the people we spoke with for today’s episode shared with us a story that, at some point mentioned a box of tapes. Just like that story that Jason described earlier of finding a box of tapes and eventually listening to them. |
13:21 |
Annie Murray: |
I think that’s an origin story in a lot of people’s involvement with SpokenWeb; “Hey! What are those tapes?” |
13:28 |
Deanna Fong: |
Going to SFU, Simon Fraser University, and just by happenstance came across this box of tapes as we all do. |
13:35 |
Roma Kail: |
Our research assistant was so excited about the project that she went to our chief librarian with the archivist and they found us unprocessed box. |
13:45 |
Karis Shearer: |
He went to get a cardboard box at one point and brought it back to her and said, “You know, I want to give this to you and someday you’re going to know what to do with it.” And she said to me, “I think, I think this is it. I think this is what I’m supposed to do with this box.” |
14:04 |
Katherine McLeod: |
I’ll introduce you to each of those voices in a moment. But for now, let’s go back to Michael who shared with us the process of working with this kind of material. |
14:14 |
Michael O’Driscoll: |
So the process that we are working by is, first of all, the materials are digitized and we create the digital records of them. Then we produce the metadata that will be associated with those records. At the same time, once those materials have been digitized, they will be made available to the library for formal accession |
14:36 |
Katherine McLeod: |
While that seems easy enough, there are in fact many challenges in working with these found recordings, which are often made with older technology such as reel to reel or cassette tapes. The challenges aren’t just technical, they are also legal. Let’s go back to our conversation with Annie Murray. |
14:56 |
Annie Murray: |
It can be expensive to do digitization. It’s very time consuming. If you don’t have ready equipment or infrastructure in your organization, you need to contract out an expert to make the recordings. With archival audio recordings, you don’t always know what’s on tapes that an author gives you with their archive. So you could be investing resources in something that might not even be a performance. It could be somebody’s voice answering machine tape, which is also interesting. But, if a collection is kind of under-processed, because it’s an audio item it does take resources to get the content out and usable. The other thing is that copyright can be a barrier. So if people don’t know who made the recording or what the status is of the audio work, it can be an impediment to digitizing it because the library or archive might not know how widely it can be shared. So those are some of the things that libraries and archives grapple with. But I also think we’ve just got to work through those problems to make sure that this content gets preserved. |
16:09 |
Katherine McLeod: |
Part of the reason it can be challenging to sort out the rights around these recordings is that they were not always straight-forward recitations or performances. Sometimes recordings include informal conversations, off the record interviews and discussions around a presentation of a work. |
16:29 |
Roma Kail: |
So my name is Roma Kail. I’m a librarian at Victoria University Library in the University of Toronto. I have done some work with the Earle Toppings fonds here at our special collections at Vic Library. |
16:45 |
Katherine McLeod: |
Earle Toppings was an editor at Ryerson Press and worked for CBC Radio. He interviewed many Canadian writers such as poets, Gwendolyn MacEwen, Dorothy Livesay, Earle Birney, and Al Purdy. The archival collection for Toppings includes correspondence with writers along with audio recordings of readings and interviews and background notes compiled by Toppings himself. |
17:10 |
Roma Kail: |
So here he is talking about – he wrote this in his notes, he wrote about his recording of Gwendolyn MacEwen – he writes that a standard microphone was used. It was a standard RCA Victor 44 – he called it the radio workhorse – and it recorded her voice softly and beautifully. Gwen was a gentle caressing reader, a sort of Billie Holiday reciting poems as she did at creative hangouts of the 1960s, such as, the creative hangouts of the 1960s, such as the Bohemian Embassy. There was a musical feeling in all her work and she almost, saying her poems, which had their own melodies. So it’s just an extra, as my research assistant pointed out, all of that accompanying material brings in an extra bit of narrative, or a different narrative to the actual sound recordings. And it was the sound recordings which really correlate with the initial goal of SpokenWeb as it was presented to us. |
18:20 |
Katherine McLeod: |
Here’s Karis Shearer, the director of the UBC Okanagan AMP Lab and Associate Professor of English in the faculty of Creative and Critical Studies who has been working with the SoundBox collection, sharing another example of the rich but curious sounds found in these archives. |
18:39 |
Karis Shearer: |
So we recently acquired a new set of tapes, a gift from George Bowering and Jean Baird, which include 19 tapes that George Bowering made, going back to the 1960s. One of them that I particularly like is a tape that was made in July of 1969 and it’s labeled ‘Warren, Roy, Moon, etcetera.’ And so I was just too curious not to give this a listen before we started digitizing it, and it is on the occasion of the moon landing… |
19:17 |
Audio Recording: |
[Beep] Now selection [Beep] |
19:18 |
Karis Shearer: |
…in 1969, and what you hear on this tape is George Bowering, Angela Bowering, Roy Kiyooka and Warren Tallman. All of whom were in Montreal at the time, Warren was passing through, Roy Kiyooka was teaching at Sir George Williams, now Concordia, and George Bowering was teaching there as well. And they’re all just hanging out in their living room, at George and Angela’s living room on Grosvenor Avenue in Montreal, and they’re listening to the broadcast of the moon landing. |
19:50 |
Audio Recording: |
Well, we had a picture with the earth right in the centre of the screen, over. |
19:53 |
Karis Shearer: |
So again, it’s a very messy, interesting tape because there’s lots of, people talking over each other. There’s a broadcast going on in the background. But what’s interesting to me is they’re not recording just the broadcast. Right? It’s not like, “Shh, everybody, we’re gonna record the broadcast of this historical moment.” What the recording is, this kind of very social dynamic moment of them talking about poetics, talking about poetry. Fred was on his way back from Albuquerque to Canada. Did you know, they’re talking about writing, they’re also at various moments, you know, looking at the astronauts on TV and in some cases, you know, making some great jokes. And so it’s a moment of recording their interaction with this historical moment, their interaction with each. So it’s a wonderful tape and I’m excited for people to be able to listen to it. |
20:52 |
Katherine McLeod: |
Here’s one of Karis’ collaborators across the SpokenWeb network explaining why this sort of recording can be so interesting to study. |
21:00 |
Deanna Fong: |
So my name is Deanna Fong. I’m a postdoctoral fellow working with SpokenWeb. My work with Karis has been so indispensable for my thinking. We’ve worked together on numerous occasions, but thinking about that question of what it is we’re listening to when we listen to this certain kind of artifact, or I suppose what, what are we listening for? And I think one of the things that we’ve found ourselves listening for is that, in any sort of informal or speech-y accounts that we have, we get a sense of the labour that goes on behind the scenes in the production of literature. And a lot of that labour is unevenly divided along gendered lines. So, you know, thinking about women’s contributions to building communities and to maintaining community spaces, acting as public historians, maintaining community archives, taking care of community members when they’re ill or when they need help, providing feedback, being auditors for work in progress, all these sorts of things that you hear, that don’t necessarily make it to the page. So I think that’s been a really crucial concept for the work that she and I have been doing. I don’t know if this is some continuation of my past or something, but I remember when I was a kid and going to hall shows and stuff like that, oftentimes I was way more interested in just sitting outside and talking to people about the bands, like, just as interested in that as I was in actually listening to the bands. So I think there’s a great interest, for me, in listening around rather than listening to, and I find conversations about literature vastly more interesting than a lot of literature itself. |
22:55 |
Michael O’Driscoll: |
I’ve learned along the way to appreciate the virtues of close listening in the sense that one can learn a lot about the cultural moment of the reading by paying close attention, not just to the words that come from the speaker, but to everything else that is happening in the room. So I think, for example, about Margaret Atwood reading in 1970 and a now defunct gallery of a hub mall on the University of Alberta campus. [Audio, from the 1970 recording: Please come in and sit down, there’s lots of room at the front.] And you can hear during the recording, [Audio: He will be very unhappy if you stand up during all this. So please sit down.] Her coming in and trying to wend her way through the audience and get herself settled down in a hubbub of things, and an introduction starts, and then stops, and then there’s a moment where people have to direct people into the room to find space ’cause it’s so crowed. [Audio: The people standing up at the back can, you not sit down?] And you just get this incredible sense of the energy of that moment and what it meant to have this really fantastic young emerging writer [Audio: There’s lots of room, does everybody, everybody just shuffle forward] show up to do her thing. And the kind of excitement that that could generate along the way [Audio: That’s more like it.] |
24:15 |
Michael O’Driscoll: |
Let me give you one other one, and that has to do with when Phyllis Webb is performing at the student union building art gallery in 1972. It’s March 9th, 1972 and she comes into the room, the recording’s already going and she’s completely breathless. She’s breathing hard and she’s clearly rushed over to get to this moment and she’s there late and she says.[I have to catch my breath.] And you can hear her say that, and just that moment of that physical presence and embodiment of this poet, again, with all of that energy that gets pulled into that archival moment into that event of the archive, it’s a really exciting thing. These are real people doing real things and real situations and the audio is a rich medium for capturing that if you’ve only listened closely enough. |
25:24 |
Theme Music: |
[Instrumental] |
25:24 |
Katherine McLeod: |
After speaking with Deanna I thought about how important it was for her to be involved in the SpokenWeb project early on in her graduate education. After speaking with Roma and her work with student research assistant, Eva Lu, I thought even more about how student training through SpokenWeb is changing what it means to study literature. At UBC Okanagan [UBCO], Karis has taught and mentored many students who have gotten involved with the SpokenWeb project. I asked her more about student training and she had a terrific story. |
25:59 |
Karis Shearer: |
For me, pedagogy is central to what we do here at UBCO on the SpokenWeb team, and it always has been. So the example that you brought up of Lee Hannigan: first student to work on the project back when it was just in its very early stages. Lee came on as a work study student and we trained him in digitization, and so I reached out to a colleague, Stephen Foster, who very kindly invited us into the media centre that he was running at that time. Mike Berger, who’s a technician trained both me and Lee in the digitization process and gave us space in the lab to do that. So it’s always been a very collective process and SpokenWeb has always been such an interdisciplinary project that has required me to reach out to and do some of that community building with other experts in the area, in order to train students and bring them onto the project. That has stayed true all the way through to the current iteration of the team. We have students who are, again, central to the project and bringing their own expertise. And, at the same time, we are training them. We’re training them in the digitization process. We’re training them in design work. We’re training them in cataloguing and producing metadata. But their expertise as they’re learning that is, again, central, so in our team meetings we always come back to having the students talk about – do a bit of a round – and talk about what they’re learning and what they’re doing, and also what directions they see the project needing to go in or areas that need to be developed. And so the pedagogy is something that is student driven. It’s also, I guess for me, it’s also something that comes right out of our archive – it comes out of the cardboard box, which is at the pedagogy of the archive itself. The collection is very pedagogical. It records Warren Tallman in the classroom. It records Tallman inviting students to his living room to talk about poetry with his wife, Ellen Tallman; they bring up Robert Duncan and record Robert Duncan giving lectures and talking with students. So within the archive and the collection itself, students are central to that. And so, for me, the pedagogy we’re enacting now is very much in dialogue with, or taking a card from that, from the collection. |
28:47 |
Michael O’Driscoll: |
From a cultural and scholarly point of view, well, audio is, almost and surprisingly so, a kind of unknown frontier. One of the ways I like to think about it is texts are never stable entities: they sit on the page surely, but as they go through various forms of socialization and cultural mediation, they change and shift over time. We deal with versions, we deal with variants, we deal with different contexts of reading and circulation and so forth – so they’re certainly not inert. But I would say if you take a poem by a particular mid century Canadian author that has sat on that same page for the last 50 years, and then you add to that archive, you add to that corpus 6 or 8 or 10 recordings of that author reading the poem, performing the poem, describing it to audiences, responding to audience questions, to hearing the audience itself respond to that poem. |
29:44 |
Audio Recording: |
Fairly recent poem, which isn’t a political poem. I told them, but a human poem and one that I wrote as a result of watching on television, the debates in the United Nations on the Middle East crisis. And one of the horrible things I felt as I watched it was how completely dehumanized it all was, that the real human issues had been lost sight of and sort of round in an ocean of resolutions and memos from embassies and all this sort of thing. |
30:33 |
Michael O’Driscoll: |
Well then that thing suddenly leaps off to the page to an nth dimension of variability and versioning, And suddenly the scholarly opportunities to work with those poems as cultural objects, as objects subject to scholarly comparison and critical analysis becomes all the more richer, all the more lively, all the more vibrant. And that’s a really exciting thing from my perspective. |
30:59 |
Jason Camlot: |
There’s still a lot of work to be done before the field recognizes archives of sound as really significant or relevant, even still to the study of literature. Part of the, I wouldn’t call it resistance, but just sort lack of a sense of how to go about engaging with these materials is a result of changes in the way literature had been taught over the course of the 20th century. I think that recitation or oral interpretation was a very important part of the way literature was taught. The way interpretation was understood so that, when we thought of interpretation, it wasn’t critical analysis done silently in an essay about a poem on the printed page, but it was actually an oral performance in which one’s understanding of the poem was communicated through the intonations and vocal actions that one took in order to literally interpret, you know, deliver in sound their version of the poem. Students would be, in a sense, graded on their oral interpretations that would be part of the exam. Exams in the 19th century were called recitations and a lot of the performance of knowledge in the 19th century – Catherine Robson has written about this – was delivered orally, right? But I think during the course of the 20th century, Especially from the 30s on when methods, identified with what was called the New Criticism came into being, certain ideas of oral performance dropped out of the critical analysis of literature. And it became in a sense, silenced or replaced by more abstract concepts of the voice of the poem or in the poem, but not one that one expects to actually hear. But one voice that one expects to find, to give a sense of unity to the poem, and to describe, but the noisy classroom filled with recitation sort of became silenced. And students were asked to scan poems on the page and the sounds of voices were replaced by the sounds of pencils, scribbling paper on the printed poem. So I think that long tradition in pedagogy related to the teaching of literature has created a kind of barrier to our sense of even how to begin engaging with this kind of archive in relation to the development of sort of literary history, the analysis of a different kind of prosody that one can hear in performance, et cetera. So things were already being done in the late nineties, or some initial thinking was being done around this, but I think the archives themselves weren’t prepared, and still to a large extent haven’t been yet prepared for us to engage with this material in the same way, with the same facility, or with a facility that’s even close to that of the printed archive. |
34:26 |
Deanna Fong: |
I will say, I’ll begin by saying that I wasn’t that interested in audio at the time. So I remember feeling a great deal of apprehension when I started working on the project in that I had no idea what these artifacts were or why they were, why they would be of interest to anybody or, you know, who would possibly want to listen to them. But when I dove into them and listened to, I found myself particularly drawn to the kind of extra-poetic speech, which is something that I’ve become very interested in, in my own research. But I was really interested in the liveness of these events. And so I remembered one of my first tasks as an RA on that project was to develop just a sort of lit survey around the research that had been done around audio poetry, like audio recordings of poetry. So I dove into Charles Bernstein’s close listening, and had this major revelation where I was like, “Whoa, a live reading of a poem is totally different than the reading of a poem on a page,” which is something that had really never occurred to me before. Like, I just, that it was a simple recitation and I really got a sense of the difference between a performed poem versus a poem on the page. And that difference became immediately very interesting to me. |
35:49 |
Katherine McLeod: |
In many ways, Karis – and really everyone we’ve heard from today – are all asking us to consider: what can these archives teach us? And it seems that sometimes these lessons can come from unexpected places. For example, what can this cross-disciplinary and deeply collaborative project teach us about academic collaboration more generally? |
36:14 |
Jason Camlot: |
I’ve been very interested this past year, throughout the past year, in having intensive conversations with Yuliya Kondratenko, the Project Manager of SpokenWeb on project management methods. And which ones are best suited to a research program of this kind. And really to begin to map out what project management for humanities-based research might look like. So I think what we’ve been doing to a large extent has been listening and watching to see how activities have unfolded, what approaches have worked, which ones haven’t been picked up as successfully as a way to then reflect upon and describe, and then ultimately, I wouldn’t say codified, but, you know, abstract in a way so that we could perhaps learn from our methods that are initially just sort of iterative experiments. So that’s another thing that I’m really interested in from that sort of more distant perspective. And it’s been great having Yuliya as a kind of sounding board so that we can actually begin writing this up a little bit and sort of maybe map out a whole new project management approach based on the disciplinary messiness of our project. |
37:40 |
Katherine McLeod: |
That was Jason Camlot, who we met at the top of the show. So what pulls all of these stories together? Well, at the heart of this project is an ethos of sharing. And as we’ve heard, it often starts with a box of tapes that a community member shares with a member of the team. But that is not all. |
38:06 |
Karis Shearer: |
One of the things that we see in the archive, vis-à-vis copies, is the circulation and gifting of recordings and tapes within members of the poetry community. Our current SpokenWeb project at UBCO is very much founded on gifting and sharing. And so when I look around the AMP Lab, which is where our collection is housed, so much of what we do is made possible through gifts, and so I’m thinking particularly of Stephen Foster, who is my colleague in visual arts. Our hardware, and even the early, the very first time that we digitized the reels, again, made possible by Stephen’s inviting us into his own lab and sharing his resources with us. And that’s been true all the way through for us, that that idea of the work on the SoundBox project is made possible through the sharing of things, the donation of tapes, and the gifting of hardware. So we really appreciate that. |
39:16 |
Katherine McLeod: |
In many ways, the web of SpokenWeb is not only the collaborative network of researchers, but it is also this web of archival recordings held together by a desire to make these available to more listeners. And this plays into what we’re trying to do here with this podcast. Provide a platform not only for researchers to share with the wider public the outcomes of their work, but a place where people might access the recordings, reflections, and sounds that have inspired so many of us and that continue to inspire us as the SpokenWeb partnership moves into its next year. |
39:57 |
Jason Camlot: |
One thing I’m looking forward to in the coming year is beginning to see our metadata ingest system, which we call SWALLOW, which is sort of swallowing up or capturing all of the metadata that’s being typed in to that system, to see it build up and then to see what kinds of questions we can start asking as a result of having all of this metadata built up about the collections. |
40:26 |
Roma Kail: |
Once we have our records in and other institutions have theirs in, it will be interesting to see how they overlap or how they compliment each other. So we certainly have material that would maybe fill gaps in other institutions collections or vice versa. So I’m very excited to see when we are able to search it, for example, who has what and how that how that represents sort of all the institutions across Canada in terms of a collection. |
41:04 |
Karis Shearer: |
So we are, at UBCO with our SpokenWeb team, we’re actively building a website, so there’ll be a landing page very soon, and there’ll be a selection of tapes from a much larger collection that will feature – once we’ve cleared permissions and created some contextualisation for them – a number of recordings that’ll be featured on that site for people to listen in while we’re actively processing the rest of the collection. And so we can stay tuned for that, in fall 2019. |
41:35 |
Michael O’Driscoll: |
So one of the things I’m also really excited about is having some conversations with some of the individuals who were involved with these moments of recording in their day. And learning a little bit more, not only about the events and the authors and the atmosphere of that moment, but also learning a little bit more about their motivations for recording; what they were doing and how they understood, they were producing an archive and for whom and for what kind of future. I’d like to learn a little bit more about the history of the collection that we have. But I’d also like to learn a little bit more about the heart of the collection that we have. |
42:14 |
Jason Camlot: |
Part of the reason that this past year has been so successful has been just because of the people who are involved. That they’re very open minded, courteous and interested, and also extremely hard working, and so we have a bunch of people who share the desire to make things happen, but also a shared desire to have a great time while doing it. You know, I think that’s been a winning combination for our project and has really allowed us to get a lot done, and has allowed for that kind of flexibility and reflectiveness without panicking about whether we’re getting to where we want to go even before we might know where we want to go. And the other thing has been that I didn’t mention yet but that I think is very important in the development of this project has been the role of graduate students and even undergraduates. I mentioned that they were at the beginning of the project in terms of describing that first collection, but I think the network was in great part built because of students who moved from here to go on to study at other universities. Simon Fraser and Alberta and UBCO in particular come to mind where those students came from here, where they’d been working with sound collections and then arrived there and said, “Where are your sound collections? I want to work with them.” And that required those universities to sort of think about, “Oh yeah, we do have huge holdings in this area that we haven’t really looked at or listened to or touched in years.” And it’s really through the students in great part that a lot of the connections with some of these great people I’ve been describing are made possible. I think there’s a lot to learn. And this became very clear from our first institute, from the students and their approaches and the methods that they’re experimenting with in making sense of these kinds of materials. I think the highlight for everyone were the two and a half hours where we heard short talks from all the students across the network on what they had been doing and what they had learned over the past year. And I think that’s a sound that I think we’re going to be amplifying really over the next year or two. |
45:01 |
Theme Music: |
[Instrumental] |
45:07 |
Hannah McGregor: |
Thanks so much for listening to the first episode of The SpokenWeb Podcast, a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada. Our producer this month is Cheryl Gladu and our podcast project manager is Stacey Copeland. A special thank you to Jason Camlot, Deanna Fong, Roma Kail, Annie Murray, Michael O’Driscoll, and Karis Shearer for their candid interviews and continued contributions to SpokenWeb. To find out more about SpokenWeb visit spokenweb.ca and subscribe to The SpokenWeb Podcast on Apple Podcasts, Spotify, Google Play, or wherever you like to listen. If you love us, let us know. Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. We’ll see you back here next month for another episode of the SpokenWeb podcast. Stories about how literature sounds. |