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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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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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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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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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On Mobilizing ‘Unvoice’: An Interview with Eric Schmaltz (Post)

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Situated at the intersection of sound and literature, artist and scholar Dr. Eric Schmaltz exemplifies the flexible thinking proper to such an innovative, interdisciplinary field. Recently, I spoke with Dr. Schmaltz about his upcoming critical work— the radical potential of silence and of body in the formation of a poetics of the ‘unvoice’—and of the sounds, important, informing his recent research activities. Most meaningfully, our conversation speaks to the possibilities inflecting our ever-growing sound studies scape; the connected and vital work of confronting our literary histories.

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Ecological Performativity: An Interview with Teresa Connors (Post)

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Finding spaces and opportunities that enable you to make use of all of your skills and experiences in meaningful ways can be a challenge as you navigate academic studies. As such, it’s always refreshing to speak with someone like Dr. Teresa Connors who has successfully brought together her artistic vision and creative practice and the world of data and research to create magnificent audiovisual installations.

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Noise and Politics: An Interview with Junting Huang (Post)

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I reached out to Junting Huang, a Ph.D candidate at Cornell University, in May. Amidst my own encounters with the shifting soundscapes of the pandemic quarantine, I was excited to hear more about his paper, exploring the soundscapes of political unrest in Taiwan. Our correspondence, over numerous emails and international borders, suggests that despite these often isolating circumstances, good conversation persists.

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