sound studies

• The most interesting part to me is to discover what we're not listening to and why we are not doing that. I think it's wonderful that I've had the chance to learn this listening from so early on where you're trained to listen to the environment and at that time it was more about listening to the sounds of the environment and critiquing them, analyzing them, trying to understand them. To me that subject has widened hugely and really has to do about listening in general and trying to understand why we are listening to things and why we're not listening to things. And so it becomes a political, social, cultural question on every level and when a society has a crisis, it's often really good to observe what we really don't want to listen to and who we are listening to and how we combine that. And I feel we are in a stage of real crisis right now. And that's why this subject matter has taken on great significance now. - Hildegard Westerkamp, March 5, 2024 conscient podcast e157

This is a special episode of the conscient podcast with 6 colleagues and friends from the Sonic Research Group at Simon Fraser University in Vancouver (this time with Milena Droumeva, Hildegard Westerkamp, Barry Truax, Julie Andreyev, Aaron Liu-Rosenbaum and myself). It's a group of 20 or so acoustic ecology researchers, activists and artists who get together every two weeks to talk about our practices and sound studies, and the things that interest us in and around the field of acoustic ecology and soundscape studies. 

I had the privilege of having five of my colleagues join me on a conversation about the theme of this year's podcast season: preparing for the end of the world as we know it (and the ‘as we know it’ part is really important) and creating the conditions for other worlds to emerge. That's the challenge that I've given myself and my guests this season.

I asked the group to think about the following set of questions: 

• How does ‘preparing for the end of the work (as we know it)’ apply in the context of acoustic ecology? How can our listening practices help us become more resilient in the face of the ecological crisis?
• How does ‘creating conditions for new worlds’ apply in acoustic ecology? How can listening and sound studies contribute to creating these conditions? What are some of the barriers for acoustic ecology to step up?
• How do any projects you are working on relate to this theme and how can this work be amplified?

Recommended reading and viewing in this episode include Jonathan Glazer's Zone of Interest film and Vanessa Andreotti’s Hopicing Modernity book.

*

Hi, thanks for listening to this episode.

Really. I know how difficult it can be to face the realities of the ecological crisis.

I hope that listening to these sound art works and/to these brilliant, passionate, and visionary artists and cultural workers helped lift your spirits, like they do for me. 

Here is a link for more information on season 5. 

Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis’. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack.

Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.

Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. 

I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. 

Claude Schryer

Latest update on March 5, 2024

In this episode of The Music Talkshow, our music researchers Veronika Muchitsch and Mirjana Plath are chatting about popular music cultures of the 20th and 21st centuries. 

We’re discussing pride music, technology, and stylistic changes through time. On top of fascinating research, you can enjoy music from 1874 to 2023. Even football fans get their money's worth.

Fotocredit: Frode Larsen / Nasjonalmuseet / UiO

UiO research center RITMO's postdoctoral fellow Dr. Remy Martin and doctoral fellow Martin Pleiß took this episode as an opportunity to stroll through one of Oslo’s most prominent places for experiencing art - the national museum of Norway. They do not simply look around, but pay attention to how we use sounds to make sense of what we experience. They talk about the need for places and emotions, how our senses give us references, and why music is so great to experience these perceptual powers every day.

What is sound design? This is the question Miranda Eastwood, current Sound Designer of The SpokenWeb Podcast, is looking to find out. Exploring soundscapes of all shapes and forms, Miranda draws from interviews with friends, colleagues, and academics, as well as Caroline Levine’s Forms: Whole, Rhythm, Hierarchy, Network to tackle this particularly tangled question. From sonic literature to audio walks, podcasting to music, this episode is a deep dive into what it means to “sound out” any and all audio texts, and the affective power afforded to sound as a medium of art and communication.

Show Notes

James Healey's music: https://thejupitermachine.bandcamp.com/album/soulless-days

Kaitlyn Staveley's music: https://www.youtube.com/@theradiokaityshow1481

Works Cited

Bijker, W. E. and Law, J. 1992. ‘General Introduction’, in W. E. Bijker and J. Law (eds.), Shaping Technology/Building Society. Cambridge, Mass.: MIT Press.

Brinkmann, M. (2018) The 'audio walk' as a format of experiential walking, Phenomenological research in education. Available at: https://paed.ophen.org/2018/06/25/gehen-spazieren-flanieren-das-format-audiowalk-als-erfahrungsgang/

Cardiff, J. and Miller, G.B. (no date) Walks, Janet Cardiff & George Bures Miller. Available at: https://cardiffmiller.com/walks/

Grint, K. and Woolgar, S. 1997. The Machine At Work. Cambridge: Polity.

Hutchby, Ian. “Technologies, Texts and Affordances.” Sociology, vol. 35, no. 2, 2001, pp. 441–56. JSTOR, http://www.jstor.org/stable/42856294. Accessed 13 Dec. 2022.

Kellough, Kaie, et al. “‘Small Stones’: A Work in Poetry, Sound, Music and Typography.” “Small Stones”: a Work in Poetry, Sound, Music and Typography - SpokenWeb Archive of the Present, https://archiveofthepresent.spokenweb.ca/small-stones-a-work-in-poetry-sound-music-and-typography/.

Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network. Princeton University Press, 2015.

McLeod, Katherine, host. “The Voice That Is The Poem, ft. Kaie Kellough.” The SpokenWeb Podcast, ShortCuts, Season 3, Episode 5.

Mills, Mara. Novak, David, and Matt Sakakeeny, editors. Keywords in Sound. Duke University Press, 2015. “deafness” p.45-54.

Ricci, Stephanie. The Making of "Small Stones" (2021) SpokenWeb Archive of the Present. SpokenWeb.

This is a mixed format episode presenting SpokenWeb members Mathieu Aubin and Stéphanie Ricci’s critical commentary after taking part in the organization of and attending the Listening, Sound, Agency Symposium. Bridging techniques from journalism and oral history, this episode includes sounds from the conference, interviews, and critically reflective discussions between Mathieu and Stéphanie. This episode was produced by Mathieu Aubin and Stéphanie Ricci, with audio engineering by Scott Girouard.

This episode explores the Symposium from the perspective of a first-time conference attendee coupled with a veteran attendee; these join the voices of multiple conference participants. Mathieu and Stéphanie focus on the process of organizing, holding, and listening to the 2021 SpokenWeb Symposium, and they discuss its themes of listening, sound, and agency as they emerge through the presentations and discussions. The episode begins with the theme of listening ethically and intentionally, before diving into a discussion of issues surrounding sound politics. It concludes with the topic of agency in relation to the amplification of sound as a potential means of empowerment. 

A special thanks to the 2021 Listening, Sound, Agency organizing committee, especially Jason Camlot, Klara DuPLessis, Deanna Fong, Katherine McLeod, Angus Tarnawsky, and Salena Wiener, whose voices are featured at the beginning of the episode.

SpokenWeb is 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. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Episode Producers:

Mathieu Aubin is a Research Affiliate at Concordia University and Principal Investigator of the SSHRC IDG project “Listening Queerly Across Generational Divides.” He is also a Research Associate at Higher Education Strategy Associates where he provides advice to postsecondary institutions on how to improve equity in higher education across Canada.

Stéphanie Ricci is an undergraduate student completing a journalism major with a sociology minor at Concordia University. Passionate about storytelling in all forms, Stéphanie is a contributing writer for the Forbes Leadership section, and scriptwriter for The CEO Series radio show with Karl Moore. Stephanie has previously worked on SpokenWeb’s online presence and outreach tactics as social media coordinator. Her past experiences also include working as an investigative reporter for the Institute for Investigative Journalism, volunteer copy editor for Her Campus Media, and production intern with CityNews Montreal.

Audio Engineering:

Scott Girouard is a Front-End Developer based in Toronto, Canada with a lifelong background in music and creative practice.

Audio Credits:

Kvelden Trapp from Blue Dot Sessions: https://app.sessions.blue/browse/track/94421

Citations:

Bergé, Carole. 1964. The Vancouver Report. FU Press.

Brittingham Furlonge, Nicole. May 19, 2021. “‘New Ways to Make Us Listen’: Exploring the Possibilities for Sonic Pedagogy.” 

Du Plessis, Klara. May 21, 2021. “From Poetry Reading to Performance Art: Agency of Deep Curation Practice.” 

McLeod, Dayna. May 18, 2021. “Queerly Circulating Sound and Affect in Intimate Karaoke, Live at Uterine Concert Hall. 

Robinson, Dylan. May 19, 2021. “Giving/Taking Notice.” 

Sun Eidsheim, Nina. May 20, 2021. “Re-writing Algorithms for Just Recognition: From Digital Aural Redlining to Accent Activism.”

Colonialism reconfigured the world economy around the extraction of natural resources and the exploitation of humans to provide the labor for that extraction. A by-product was profound change to how people made, heard, and paid for music. 

In this episode we talk about what sound has to do with the Anthropocene, explore how profits from the slave trade had a direct impact on European musical life in the eighteenth century, and immerse ourselves in the soundscape, full of colliding cultural experiences, of a Jamaican dance hall at the turn of the 19th century.

We begin by grappling with the Anthropocene, the era of human-caused climate change. There are solid arguments that it was sparked by European colonialism. Together we explain how empire, as early as 1600 CE, contributed to a “Little Ice Age,” before industrialization--and the intensive use of fossil fuels such as peat, wood, coal, steam, and petrochemicals--set temperatures rising again.

Individual people paid the price. To find out more we look at the origins of the “triangular trade” of wind-borne commerce between Africa, the Americas, and Europe. We then turn to some pretty famous names from the history of Western Art Music, to discover the impact of the lucrative profits of this commerce, in particular the trafficking of enslaved people from Africa, had on their careers.

Hearing the names of Handel, Mozart, and Haydn in association with the murderous trade in enslaved people may come as a shock, so we take some time to understand music-makers and consumers as actors in music history, unpacking connections between high art and the global economy of the early Anthropocene. Or to put it more bluntly, between “then and them,” and “now and us.”

Our next stop is early nineteenth-century Jamaica. We take a look (and a listen) to that island’s fraught colonial history, by “entering” Abraham James’s painting, “A Grand Jamaica Ball,” moving from its two dimensions to an imaginary sonic three. 

Pictures don’t make noise, it’s true, but if you take time with them, they can reveal a lot about the human experience of sound. We’ll be doing this frequently in the podcast: looking across times and places for unexpected sonic clues about how people lived their lives. Especially in the pre-electrical era paintings, sculpture, prose, and other objects are key materials in our sonic-historic workshop. 

Key Points

• Global history took a new turn around 1500 with the beginning of Western colonial expansion and the rise of a new global economy based on resource extraction and long-distance trade. 
• This new turn had a direct and measurable impact on Earth’s environment: many historians now place the beginning of the Anthropocene (the era of human-made climate change) around 1600.
• One fundamental impact of Western expansion and empire included the large-scale eradication of Indigenous people through disease and violence. Another was the enslavement of Africans and their transport to the Americas, a process marked by unspeakable mass violence. Both catastrophes changed global soundworlds in many ways.
• Historical honesty compels us to recognize that heroes of Western Art Music such as Haydn, Handel and Mozart were all connected to the new global economy. None of them could have had the careers they did without money from patrons whose money came from trade in resources like sugar, which in turn depended on enslavement and the exploitation of human suffering.

Resources

• Gary Tomlinson’s ground-breaking work on the deep history of music includes A Million Years of Music: The Emergence of Human Modernity.
• Simon L. Lewis and Mark A. Maslin’s exploration of the long history of human impacts on climate, which includes their take on the “Orbis spike”: The Human Planet: How We Created the Anthropocene
• David Hunter’s discussion of evidence of Handel’s investments in the slave economy, on Will Robin’s Sound Expertise Podcast
• For cutting-edge musicological work on sound, music history, and the Anthropocene, check out @prof_ajchung on Twitter

All of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

We would love to hear your reactions and ideas to our stories. If you appreciate the podcast, leave us a rating and a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Trailer Producers:

Judith Burr & Hannah McGregor

Clips Featured:

KPFA recording of Robert Hogg reading at Berkeley Poetry Conference, 1965, from S2E10 “Robert Hogg and the Widening Circle of Return”

Mavis Gallant, SFU, 1984, from S2E9 “Mavis Gallant Part 2: The Paratexts of ‘Grippes and Poche’ at SFU”

Mathieu Aubin, in S2E2 “Lesbian Liberation Across Media: A Sonic Screening”

“Listen to Black Womxn”, by jamilah malika, and Katherine McLeod in S2E8 “Talking about Talking”

Penn Kemp, from S2E3 “Sounds of Trance Formation: An Interview with Penn Kemp”

Wisdom Agorde, from S2E4 “Drum Codes Pt 1: The Language of Talking Drums”

Klara du Plessis, from S2E1 “Deep Curation: Experimenting with the Poetry Reading as Practice”

Stacey Copeland, from S2E5 “Cylinder Talks - Pedagogy in Literary Sound Studies”

Treena Chambers, from S2E7 “Listening Ethically to the SpokenWeb”

Music: 

“Slapstick” by Moon Juice from Blue Dot Sessions

Together we listen back to select "Cylinder Talk" sound production assignments created by Concordia graduate students, and unpack the experiences, ideas and discussions that the production and study of sound can incite across disciplines. A 3-minute audio project assigned to students in Jason’s most recent graduate seminar - Literary Listening as Cultural Technique - the Cylinder Talk draws on a history of early spoken sound recordings, inviting us into an embodied sonic engagement with literature studies.The episode features sound work by Alexandra Sweny, Sara Adams, Aubrey Grant and Andrew Whiteman.

SpokenWeb is 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. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Episode Producers:

Jason Camlot (SpokenWeb director) is Professor in the Department of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal. His critical works include Phonopoetics (Stanford 2019), Style and the Nineteenth-Century British Critic (2008), and the co-edited collections, CanLit Across Media (2019) and Language Acts (2007). He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said.

Stacey Copeland  is a media producer and Communication Ph.D. candidate at Simon Fraser University in Vancouver, Canada. She received her MA from the Ryerson York joint Communication and Culture program and a BA in Media Production from Ryerson University. She is currently the podcast project manager for The Spokenweb Podcast and the supervising producer of Amplify Podcast Network. website: http://staceycopeland.com/

Cylinder Talks Featured:

• Alexandra Sweny,  “Ethics of Field Recording in Irv Teibel’s Environments Series”
  • Sound Clips:  Original recordings of Montreal by Alexandra Sweny.
• Sara Adams,  “Henry Mayhew and Victorian London”
  • Sound Clips: “Victorian Street.” British Library, Sounds, Sound Effects. Collection: Period Backgrounds.  Editor, Benet Bergonzi.  Published, 1994.
• Aubrey Grant,  “Poe’s Impossible Sound”
  • Sound Clips: Lucier, Alvin. I Am Sitting in a Room, Lovely Music Ltd., 1981.
• Andrew Whiteman,  “Bronze lance heads”
  • Sound Clips:
    • “Robert Duncan Lecture on Ezra Pound” March 26, 1976, U of San Diego; accessed from Penn Sound Robert Duncan’s author page. (https://writing.upenn.edu/pennsound/x/Duncan.php)
    • “Ezra Pound recites Canto 1” 1959; accessed from Penn Sound Ezra Pound’s author page (https://writing.upenn.edu/pennsound/x/Pound.php)
    • —“The Sound of Pound: A Listener’s Guide” by Richard Siebruth, interview with Al Filreis May 22, 2007. (https://writing.upenn.edu/pennsound/x/Pound.php)
    • Sampled 1940s film music; date and origin unknown.
    • Original music; composed by Andrew Whiteman, Dec 2020.

References:

• Eidsheim, Nina Sun.  The Race of Sound: Listening, Timbre and Vocality in African Music. Duke UP, 2019.
• Feaster, Patrick. “’The Following Record’: Making Sense of Phonographic Performance, 1877-1908.” PhD Dissertation.  Indiana University, 2007.
• Hoffman, J. “Soundscape explorer: From snow to shrimps, everything is a sound to Bernie Krause.” Nature, vol. 485, no. 7398, 2012, p. 308, doi:10.1038/485308a.
• Kittler, Friedrich. Grammophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford University Press, 1999.
• Krause, Bernie. The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places. Little Brown, 2012.
• Peter Miller, “Prosody, Media, and the Poetry of Edgar Allan Poe,” PMLA 135.2 (March 2020): 315-328.
• Mayhew, Henry. London Labour and the London Poor, 1851.
• Picker, John.  Victorian Soundscapes.  Oxford University Press, 2003.
• Poe, Edgar Allen. “The Bells”, Complete Poems and Selected Essays, ed. Richard Gray, Everyman Press, 1993, pp. 81-84.
• Robinson, Dylan.  Hungry Listening: Resonant Theory for Indigenous Sound Studies. University of Minnesota Press, 2020.
• Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Inner Traditions/Bear and Co., 1993.
• Siegert, Bernhard. Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Rea. Trans. Geoffrey Winthrop-Young.  Fordham UP, 2015.
• Stoever, Jennifer Lynn. The Sonic Color Line: Race and the Cultural Politics of Listening.  New York University Press, 2016.
• Teibel, Irv. Environments 1: Psychologically Ultimate Seashore. LP Record. Syntonic Research Inc., 1969.
• World Soundscape Project - Sonic Research Studio - Simon Fraser University. https://www.sfu.ca/sonic-studio/worldsoundscaperoject.html. Accessed 31 Jan. 2021.

Additional Sound Clips:

• Camlot, Jason.  Ambient Music for “Cylinder Talks”.
• “A Christmas Carol in Prose (Charles Dickens: Scrooge’s awakening )(w Carol Singers [male quartet]).” Bransby Williams, performer. Edison 13353, 1905.
• "Big Ben clock tower of Westminster - striking half past 10, quarter to 11, and 11 o'clock" (Westminster, London, England). July 16, 1890. Recorded by: Miss Ferguson and Graham Hope, (for George Gouraud). Edison brown wax cylinder (unissued). NPS object catalog number: EDIS 39839.
• bpayri. “crowd chattering students university loud”, Freesound, 2015.
• Humanoide9000. “Glacier break”, Freesound, 2017.
• “Micawber (from ‘David Copperfield’).” William Sterling Battis, performer. Victor 35556 B, 12”
• disc, 1916.
• New, David, director. R. Murray Schafer: Listen, National Film Board of Canada, 2009.
• sbyandiji. “short alarm bell in school hall”, Freesound, 2014.
• Spliffy. “Hallway of University in silence”, Freesound, 2015.
• “Svengali Mesmerizes Trilby.” Herbert Beerbohm Tree, performer. Gramophone Concert Record, 10” Black Label Disc, GC 1313, 1906.
• “The Transformation Scene From Dr. Jekyll and Mr. Hyde.” Len Spencer, performer. Columbia matrix, [1904] 1908.
• Udall, Lyn. “Just One Girl.” Popular Songs of Other Days, 2012/1898.
• Westerkamp, Hildegard. “Kits Beach Soundwalk.” Transformations, Empreintes DIGITALes, IMED 1031, Enregistrements i Média (SOPROQ), 1989/2010. https://electrocd.com/en/piste/imed_1031-1.3.

SpokenWeb is 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. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Trailer Producers:

Hannah McGregor & Stacey Copeland

Clips Featured:

S1E2 - Sound Recordings are Weird.

S1E3 - Invisible Labour

S1E4 - The Agony and Ecstasy of Elizabeth Smart

S1E8 - How Are We Listening Now?

Music - Palms Down - Blue Dot Sessions

SpokenWeb is 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. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned for Season 2 this Fall!

Episode Producers:

Sadie Barker is a PhD student at Concordia, working at the intersections of aesthetic and affect theory, sound and decolonial studies. She holds an MA in Cultural Studies. She is increasingly interested in the affordances of podcasting to mediate interdisciplinary spaces.  

Emma Telaro is an MA student at Concordia in the department of English, and a RA for SpokenWeb. She is interested in the disruptive potential of sound and of silence in the literary. This is her first official podcast. 

Ali Barillaro is an MA student in English at Concordia University and a SpokenWeb RA interested in both the study of comics in the social media age and the sounds of audience response in the context of poetry readings. 

Jason Camlot’s most recent critical works are Phonopoetics: The Making of Early Literary Recordings (Stanford 2019),  and the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill Queen’s UP, 2019). He is the principal investigator and director of The SpokenWeb and Professor of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal.

Bibliography:

Bender, John and David E. Wellbery, "Rhetoricality: On the Modernist Return of Rhetoric." The Ends of Rhetoric: History, Theory, Practice. Ed. Bender and Wellbery. Stanford, CA: Stanford University Press, 1990.

Copeland, Stacey.  "A Feminist Materialisation of Amplified Voice: Queering Identity and Affect in The Heart." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  209-225. 

Llinares, Dario. "Podcasting as Liminal Praxis: Aural Mediation, Sound Writing and Identity." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  123-145.

Rapp, Christof, "Aristotle's Rhetoric", The Stanford Encyclopedia of Philosophy (Spring 2010 Edition), Edward N. Zalta (ed.), URL = .

Sterne, Jonathan.  "The Theology of Sound: A Critique of Orality," CanadianJournal of Communication 36.2 (2011): 207-225.

Ong, Walter J.: Orality and Literacy--The Technologizing of the Word (1982). Routledge, New York, 1988.

Find a list of Ambient Sounds, Music and Additional Recordings used in this episode  Linked Here.
 

Each month on alternate fortnights (that's every second week following the monthly spokenweb podcast episode) - join Hannah McGregor, and minisode host and curator Katherine McLeod for SpokenWeb's Audio of Month mini series.

An extension of Katherine's audio-of-the-week series at spokenweb.ca, Katherine brings her favorite audio each month to the spokenweb podcast - so if you love what you hear, make sure to head over to spokenweb.ca for more.

Listen to Mathieu Aubin's Audio of the Week featuring an audio clip of bill bissett on CKVU-TV September 1978 here along with links to recordings and works mentioned in this minisode: https://spokenweb.ca/bill-bissett-on-ckvu-tv-september-1978/

Produced by: Katherine McLeod, Mathieu Aubin, Hannah McGregor, Stacey Copeland.

SpokenWeb is 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. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Episode Producers:

Jason Camlot’s critical works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), Style and the Nineteenth-Century British Critic (Routledge 2008), and the co-edited collections, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill-Queen’s UP, 2019) and Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century (Véhicule 2007).  He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said. He is the principal investigator and director of The SpokenWeb. He is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia U in Montreal.

Katherine McLeod researches Canadian literature through sound, performance, and archives. She has co-edited CanLit Across Media: Unarchiving the Literary Event (with Jason Camlot, McGill-Queen’s UP, 2019). Currently, she is writing a monograph on archival recordings of women poets reading on CBC Radio. She began this research as a SSHRC-funded Postdoctoral Fellow (TransCanada Institute, U of Guelph) and then as a SpokenWeb Postdoctoral Fellow (Concordia). She received her doctorate from the University of Toronto. Katherine explores the intersection of dance and poetry in her own creative practice, along with curating SpokenWeb’s Audio of the Week, the Audio of the Month for The SpokenWeb Podcast, and Where Poets Read, a listing of Montreal poetry readings. 

Interviewees and Voices Heard:

Oana Avasilichioaei, Ali Barillaro, Sadie Barker, Arjun Basu, Naomi Charron, Alexei Perry Cox, Nisha Coleman, Klara du Plessis, Ian Ferrier , Priscilla Joly, Rob McLennan, Heather Pepper, Lindsay Presswell, Deanna Radford, Kian Vaziri-Tehrani, Brian Vass, Isabella Wang, Alvaro Echánove, Marlene Oeffinger

Print References

Dolar, Mladen.  A Voice and Nothing More. Cambridge, MA: MIT Press, 2006.

Labelle, Brandon.  "Auditory Relations."  In Background Noise: Perspectives on Sound Art.  New York: Continuum, ix-xvi.

Peters, John Durham.  Speaking Into the Air: A History of the Idea of Communication. Chicago: University of Chicago Press, 1999

Petriglieri, Gianpiero.  Twitter Post. April 3, 2020, 7:43 PM. https://twitter.com/gpetriglieri/status/1246221849018720256

Rowling, J.K. Harry Potter and the Deathly Hallows.  London, UK: Bloomsbury, 2014.

Schafer, R. Murray.  The Soundscape: Our Sonic Environment and the Tuning of the World.  Rochester, VT: Destiny Books, 1994.

"Sounds from the global Covid-19 lockdown." Cities and Memory. https://citiesandmemory.com/covid19-sounds/

Poetry Recordings

Antin, David.  "The Principle of Fit, II" (Part I). 26.:32. June 1980. Recording at the Folger Shakespeare Library, Washington D.C. PennSound. https://media.sas.upenn.edu/pennsound/authors/Antin/Antin-David_The-Principle-of-Fit-II-Side-A_DC_06-80.mp3

Cox, Alexei Perry. Poems from Finding Places to Make Places. 42:39. The Words & Music Show, March 22, 2020. 

Coleman, Nisha. "The Church of Harvey Christ." 40:53. The Words & Music Show, March, 22 2020. 

Plath, Sylvia. "Daddy." Originally released on The Poet Speaks, Record 5, Argo, 1965. YouTube audio. 3:56. Posted December 29, 2006. https://www.youtube.com/watch?v=6hHjctqSBwM

--

Find a list of Ambient Sounds, Music and Additional Recordings used in this episode Linked Here.

With presentations from Lucia Lorenzi, Milena Droumeva, Brady Marks, and Blake Nemec (moderated by Hannah McGregor) the panel explores how we understand sound, noise, voice, silence, and voiceless-ness when they intersect with gender, feminism, and the expected, mandated, or performative aspects of speech. Including a new interview with Dr. Milena Droumeva that reflects on her presentation, project and sonification, Episode 5: “Revisiting ‘Feminist Noise, Silence, and Refusal’” returns to the 2019 SpokenWeb Symposium as Kate invites us to listen toward a new decade of feminist sound politics.

SpokenWeb is 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. 

To find out more about Spokenweb and our next Symposium in 2020, visit: spokenweb.ca. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.

Episode Producers: Kate Moffatt, Michelle Levy

Podcast Project Manager: Stacey Copeland

Show Host: Hannah McGregor

Resources: 

The program for the SpokenWeb Sound Institute 2019 can be found here (https://spokenweb.ca/wp-content/uploads/2018/12/Spokenweb-SSI-Program-2019.pdf) 

The program for the SpokenWeb Symposium 2019: Resonant Practices in Communities of Sound can be found here (https://spokenweb.ca/wp-content/uploads/2018/12/SpokenWeb-Symposium-2019-Programme.pdf).