At this Listening Party, we’ll be listening to and discussing the newest episode of the The SpokenWeb Podcast by ShortCuts producer Katherine McLeod and transcriber Kelly Cubbon, who will be talking transcription as an accessible, collaborative, and creative process.
In this listening practice, guide-hosts Jason Camlot and Katherine McLeod take up the call of SpokenWeb organizational partner Blue Metropolis to conduct an event that explores the theme of hope in relation to the archival pursuits of our research network. To this end, we invite past guides of SpokenWeb listening practices, and all members of the SpokenWeb network, to select a short (30 second max) sound clip from their archival or other research interests that sounds an idea or feeling of hope, for us to listen to and discuss together.
In the first weeks of the COVID-19 pandemic, Concordia researchers Jason Camlot and Katherine McLeod co-produced “How are we listening, now? Signal, Noise, Silence” for The SpokenWeb Podcast series in order to document our reactions to the changes in our sonic environments during this time of social distancing and self-isolation. […]
Presentations, Talk | Alvaro Echánove, Anglophone Heritage Network, Aphrodite Salas, Concordia University, Jason Camlot, Katherine McLeod, Klara du Plessis, Marlene Oeffinger, Montreal, Oana Avasilichioaei, Podcast, SpokenWeb, Stacey Copeland
In this Audio of the Week, you are listening to the voice of poet Gwendolyn MacEwen reading in Montreal on November 18, 1966. The reading took place at Sir George Williams University (now Concordia) and it was a joint reading with Phyllis Webb. After an introduction by Roy Kiyooka (an excerpt of which is the first Audio of the Week) Webb reads, followed by MacEwen.
This Audio of the Week features Margaret Avison reading “Thaw” on Friday January 27, 1967, at Sir George Williams University (now Concordia). “Thaw” is a poem that feels right for this spring day – when patches of snow are melting beside tulip buds sprouting up from the ground. But, this year, the arrival of spring feels bittersweet. At the time when we are usually released from the solitude of winter, we have been forced into self-isolation by the spread of the virus COVID-19. For now, we stay at home and stay apart.
An innovative collection that evaluates diverse methods of recording, archiving, and remediating literature and literary culture in Canada. The materials we turn to for the construction of our literary pasts – the texts, performances, and discussions selected for storage and cataloguing in archives – shape what we know and teach about literature today. The ways […]
A previous Audio of the Week featured one of Livesay’s most song-like poems “The Unquiet Bed” and this Audio of the Week features another musical poem by Livesay from that same reading in Montreal on January 14, 1971. The poem is “Bartok and the Geranium,” a poem that is often anthologized and, in fact, you may have studied it in a course on Canadian poetry. But do you know how Livesay wrote it? In this Audio of the Week, along with hearing the poem, you will hear Livesay telling her own story of how the poem began.
When listening to one recording from the SGW Poetry Series (1966-1974), it can be hard to hear its place amid the reading series as a whole. One can visualize its place on a list or on a calendar but it can be harder to sonically hear the seriality itself, except when someone on the recording, most often the host, refers to the previous or following reading. For this Audio of the Week, as we near the end of 2019, I have selected two clips from December readings in which there are announcements for the next readings in January.
As I listened to December readings from various years in the SGW Poetry Series – to mark the end of this year, 2019 – I started exploring the reading by Daryl Hine. At first, I considered selecting his reading of the final poem, “The Trout,” but then I noticed something else: a note for one timestamp (00:42:19) indicating that Hine introduced and read “an unknown poem.” As I listened to his introduction, I realized that he was preparing the audience for the now-famous poem “Point Grey,” which, at the time of this reading, was not published. In fact, the introducer of Hine at the start of the reading mentioned that Minutes, the collection that contained “Point Grey,” would be published in 1968.
Virtual Listening Practice Guided by Katherine McLeod – Listening to Gendered Voices — Apr 08, 2020 (Events)
A weekly session for exploring and experimenting with different modes of listening. Each week our practice will be guided by an expert from SpokenWeb. What is listening? What are we listening for when we are listening? What are listening techniques for different disciplines? Join us, once or weekly, for Listening Practice. All are welcome!