Podcasts about graeme gibson

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound's use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill's article on auditory projective tests, “Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode's theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound's use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill's article on auditory projective tests, “Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode's theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound's use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill's article on auditory projective tests, “Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode's theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound's use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill's article on auditory projective tests, “Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode's theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound's use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill's article on auditory projective tests, “Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode's theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

This episode, we talk with Jennifer Lynn Stoever–editor of the influential sound studies blog Sounding Out!–about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible “sonic color line.” Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne. Additional music by Graeme Gibson and Blue the Fifth. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, “Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats.” If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We'll listen to three pieces of Brian's: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the “burrows” in New York's five boroughs. Links to works discussed: Quotidian Record (2012), Urban Intonation (2017). Mack notes that it was incredible to edit this episode using Daniel Fishkin's daxophone arrangement of John Cage's “Ryoanji” (1983). The other music on today's episode is by Brian House and Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, “Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats.” If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We'll listen to three pieces of Brian's: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the “burrows” in New York's five boroughs. Links to works discussed: Quotidian Record (2012), Urban Intonation (2017). Mack notes that it was incredible to edit this episode using Daniel Fishkin's daxophone arrangement of John Cage's “Ryoanji” (1983). The other music on today's episode is by Brian House and Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, “Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats.” If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We'll listen to three pieces of Brian's: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the “burrows” in New York's five boroughs. Links to works discussed: Quotidian Record (2012), Urban Intonation (2017). Mack notes that it was incredible to edit this episode using Daniel Fishkin's daxophone arrangement of John Cage's “Ryoanji” (1983). The other music on today's episode is by Brian House and Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

On our first episode of Phantom Power, we ponder those moments when the air remains unmoved. Whether fostered by design or meteorological conditions or technological glitch, the absence of sound sometimes affects us more profoundly than the audible. We begin with author John Biguenet discussing his book Silence (Bloomsbury, 2015) and the relationship between quietude, reading, writing, and the self. Next, we speak to poet and hurricane responder Rodrigo Toscano, who takes us into the foreboding silence in eye of a storm. Finally, our own co-host and poet cris cheek ponders the many contradictory experiences of “dead air” in an age of changing media technologies. Today's episode features music by our own Mack Hagood and by Graeme Gibson, who is currently touring on drums with Michael Nau and the Mighty Thread. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On our first episode of Phantom Power, we ponder those moments when the air remains unmoved. Whether fostered by design or meteorological conditions or technological glitch, the absence of sound sometimes affects us more profoundly than the audible. We begin with author John Biguenet discussing his book Silence (Bloomsbury, 2015) and the relationship between quietude, reading, writing, and the self. Next, we speak to poet and hurricane responder Rodrigo Toscano, who takes us into the foreboding silence in eye of a storm. Finally, our own co-host and poet cris cheek ponders the many contradictory experiences of “dead air” in an age of changing media technologies. Today's episode features music by our own Mack Hagood and by Graeme Gibson, who is currently touring on drums with Michael Nau and the Mighty Thread. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

On our first episode of Phantom Power, we ponder those moments when the air remains unmoved. Whether fostered by design or meteorological conditions or technological glitch, the absence of sound sometimes affects us more profoundly than the audible. We begin with author John Biguenet discussing his book Silence (Bloomsbury, 2015) and the relationship between quietude, reading, writing, and the self. Next, we speak to poet and hurricane responder Rodrigo Toscano, who takes us into the foreboding silence in eye of a storm. Finally, our own co-host and poet cris cheek ponders the many contradictory experiences of “dead air” in an age of changing media technologies. Today's episode features music by our own Mack Hagood and by Graeme Gibson, who is currently touring on drums with Michael Nau and the Mighty Thread. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

On our first episode of Phantom Power, we ponder those moments when the air remains unmoved. Whether fostered by design or meteorological conditions or technological glitch, the absence of sound sometimes affects us more profoundly than the audible. We begin with author John Biguenet discussing his book Silence (Bloomsbury, 2015) and the relationship between quietude, reading, writing, and the self. Next, we speak to poet and hurricane responder Rodrigo Toscano, who takes us into the foreboding silence in eye of a storm. Finally, our own co-host and poet cris cheek ponders the many contradictory experiences of “dead air” in an age of changing media technologies. Today's episode features music by our own Mack Hagood and by Graeme Gibson, who is currently touring on drums with Michael Nau and the Mighty Thread. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

The Margaret Atwood EpisodeMargaret Atwood is the author of more than 50 books of fiction, poetry, critical essays, and graphic novels. Her work has been published in more than 45 countries. The Testaments, her most recent novel, is a co-winner of the 2019 Booker Prize. It is the long awaited sequel to The Handmaid's Tale, now an award-winning TV series.Margaret's other works of fiction include Cat's Eye, finalist for the 1989 Booker Prize; Alias Grace, which won the Giller Prize in Canada and the Premio Mondello in Italy; the Blind Assassin, winner of the 2000 Booker Prize; the MaddAddam Trilogy; and Hag-Seed.Ms. Atwood is the recipient of numerous awards, including the Peace Prize of the German Book Trade, the Franz Kafka International Literary Prize, the PEN Center USA Lifetime Achievement Award, and the Los Angeles Times Innovator's Award. Together with her late husband Graeme Gibson, Margaret was also awarded the Nature Canada Award for Conservation Advocacy. In this episode, Margaret shares her thoughts on religion, history, politics, abortion… and asks me to join her cult. FIND MARGARET:www.margaretatwood.caSupport this podcast on Patreon (starting as low as $2/month) and get access to bonus content: https://www.patreon.com/janiceselbie Thanks to my newest patrons: Joel and Marie. Every dollar helps.Subscribe to the audio-only version here: https://www.divorcing-religion.com/religious-trauma-podcastFollow Janice and the Conference on Religious Trauma on Social Media: Mastodon: JaniceSelbie@mas.toThreads: wisecounsellor@threads.net Twitter: https://twitter.com/divorcereligionTwitter: https://twitter.com/Wise_counsellorTwitter: https://twitter.com/ComeToCORTFacebook: https://www.facebook.com/DivorcingReligionTikTok: https://www.tiktok.com/@janiceselbieInstagram: https://www.instagram.com/wisecounsellor/The Divorcing Religion Podcast is for entertainment purposes only. If you need help with your mental health, please consult a qualified, secular, mental health clinician.Support the show

Margaret Atwood is the author of over 50 books of poetry, critical essays, graphic novels, and fiction. Her latest short story collection, Old Babes in the Wood, was recently published this March. Today, we revisit our 2022 conversation, beginning with essay collection Burning Questions (4:47), which wrestles with catastrophe (5:28), Atwood's upbringing in the wilderness (7:36) under egalitarian parents (10:30), and how she circumvented the traditional roles for women of the 1950s (12:55). She also shares some personal stories: her first book signing event (16:05), the day she met her late husband Graeme Gibson (17:35), and the innumerable ways in which he'd shape her life (20:29). On the back-half we discuss the historical antecedents behind The Handmaid's Tale (23:34), its renewed relevance amid threats to reproductive justice (25:04), the debate around ‘the writer as political agent' (31:24), patriarchal gatekeeping inside the publishing industry (34:12), the limits of art-making (35:08), and why she continues to write at age 82 (38:57). To close, Margaret reads from both her elegiac poem Dearly (41:05) and her essay “Polonia” (47:10).See omnystudio.com/listener for privacy information.

Today we are joined by legendary writer Margaret Atwood! We begin with her new collection of essays, Burning Questions (4:18), which wrestle with catastrophe (4:59), growing up in the wilderness (7:05) under egalitarian parents (10:00), and how she circumvented the traditional roles for women of the 1950s (12:20). She also shares some personal stories: her first book signing event (15:40), the day she met her late husband Graeme Gibson (17:20), and the innumerable ways in which he'd shape her life (20:11). On the back-half we discuss the historical antecedents behind The Handmaid's Tale (24:11), its renewed relevance amid threats to Roe v. Wade (25:43), the debate around ‘the writer as political agent' (29:53), patriarchal gatekeeping inside the publishing industry (32:42), the limits of art-making (34:20), and why she continues to write at age 82 (39:17).  To close, Margaret reads from both her elegiac poem Dearly (40:05) and her essay “Polonia” (45:27). To submit a comment, question, or reflection for our upcoming mailbag episode, write us at mail@talkeasypod.com. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. --Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson.

Canadian author Margaret Atwood shared much with her late partner, the novelist Graeme Gibson, including a love of birds. In a conversation from March, she talks to Matt Galloway about the spring migration, the new edition of Gibson's Bedside Book of Birds and what nature can bring us, especially amid the pandemic.

Canadian author Margaret Atwood shared much with her late partner, the novelist Graeme Gibson, including a love of birds. She talks to Matt Galloway about the spring migration, the new edition of Gibson's Bedside Book of Birds and what nature can bring us, especially at this moment of the pandemic.

Phantom Power's Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work doesn’t get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970’s Fly, and recording artist of experimental pop albums such as that Fly’s soundtrack... Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono’s voice. Of course, as we’ve explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono’s case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of what was considered acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today’s show, we’re going to actually listen. What is the purpose and meaning and effect of Ono’s vocal artistry? We’re exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other. This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. Yoko Ono's film Fly is available on MUBI. The soundtrack has been reissued by Secretly Canadian. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.  

Recorded right next to an active Osprey nest in Yorktown, Virginia! Listen to mama and baby Osprey squawk while John talks about their evolutionary history, breeding, behavior, and (as always) we wrap up with some myths and legends!. . . . Plus...Joe joins us to discuss 25+ years of enjoying Ospreys! Don't miss out on his dad jokes and great stories! . . Theme music by Ricky Pistone, aka Dick Piston Outro Music by The Sidewalk Slammers . . Reference books: Quote from Alexander Wilson's American Ornithology found in "The Bedside Book of Birds" by Graeme Gibson "The Book of Birds" National Geographic Society, 1933 . . Cover art by the talented Jessica

Margaret Atwood has crafted her fair share of doomsday scenarios. And a lot of those have been inspired by real-life events, from the totalitarian regimes abroad that shaped her world as a child to the suspension of civil liberties at home in Canada, under the War Measures Act. Along the way, she has lost loved ones — including most recently her life partner and fellow writer, Graeme Gibson, who suffered from dementia. But in the face of all that, Margaret Atwood is still standing strong. With a crackling sense of humour and endless curiosity (“it gets me in so much trouble”) the internationally renowned writer seamlessly weaves between realities she’s lived in the last 80 years and possibilities yet to come in this conversation with Anna Maria Tremonti. And while she won’t make official predictions in the face of many possible futures, she will (almost gleefully) read palms. Just wait till you hear what she sees in Anna Maria’s.

Graeme Gibson, the Canadian writer and avid ornithologist and conservationist who died this last September at the age of 85, and his partner, author and poet Margaret Atwood, met in 1970 in Toronto, when both were associated with the fledgling Canadian independent publisher, the House of Anansi, founded by poet Dennis Lee and writer David Godfrey in the basement of the latter’s house on Spadina Avenue near Bloor Street. Graeme Gibson’s lauded experimental novel, Five Legs, and Margaret Atwood’s Governor-General’s Award-winning collection of poetry, The Circle Game, were early and surprising bestsellers for a publisher that remains a fundamental pillar of the Canadian literary scene to this day. In “A Literary Love Story” Graeme Gibson and Margaret Atwood remember the beginnings of the House of Anansi and the literary scene in Toronto of the nineteen sixties and seventies. Presented by Noah Richler and produced by Mihira Lakshman and Nick Parker, with sound provided gratis by freesound.org, and dedicated to the memory of Graeme Gibson.

Season Two erupts in our ears with a film-noir soundscape—an eerie voice utters strange and disjointed phrases and echoing footsteps lead to sirens and gunshots. What on Earth are we listening to? We unravel the mystery with NYU media professor Mara Mills  who studies the historical relationship between disability and media technologies. In Episode 8, “Test Subjects,” we examine the strange and obscure history of sound’s use as a psychological diagnostic tool. In the late 20th century, while many disabilities were eliminated through medical interventions, a host of new disabilities were invented, especially within the realm of psychology. Mills's historical work in the audio archives of American Foundation for the Blind reveals how auditory projective testing was used to diagnose blind people with additional psychological disabilities. As we listen to these strange archival sounds, we learn how culture and technology shape the history of human ability and disability. Read Mara Mill’s article on auditory projective tests, "Evocative Object: Auditory Inkblot” and visit NYU's Center for Disability Studies, which she co-directs with Faye Ginsburg.  Thanks to archivist Helen Selsdon and the American Foundation for the Blind for the use of the auditory projective tests. This episode’s theme music is by Mack Hagood with additional music by Graeme Gibson, Blue Dot Sessions, Claude Debussy, and Duke Ellington. The show was edited by Craig Eley and Mack Hagood. Transcript [ethereal music plays in the background] [CRIS CREEK]This…is…Phantom Power. [static and creaking sounds fade in and out] [MACK HAGOOD]Episode 8. [dial tone plays] [CRIS]Test Subjects. [MAN OVER PHONE]This is the first sound. [fast ticking of a clock fades in. Water sloshing, then dramatic, ethereal music fades in] [WOMAN]They walk together slowly, their feet making a sound together. And the man wonders…wonders why all the noise, all the turmoil, so quiet. When will it stop? So quiet, so peaceful, so serene, so quiet. You can’t forget the quiet. You can’t ever forget. [sound of a whistle, then a crash. Music and ticking play in background] [CRIS]I feel as if I’m being thrown into a space or a place that I am experiencing as anxiety, that sense of the alarms, the hurrying footsteps, the dramatic voice and the time passing. It’s just a kind of a…its a terror of time passing. It’s Jonathan Query’s  24/7 being made manifest in my ears. [MACK]Yeah, these are sounds I’ve been playing around with. Our guest for today’s episode just shared this archive of amazing sounds with me, and so I was just playing with them putting them into a collage. A lot of them do seem to induce a bit of a feeling of dread. [CRIS]No, I liked it. It was it was full of portent. It was almost as if I was in radio play where most of the dialogue could have been removed and I just had the sound effects left. [MACK] Yeah, and as we’ll learn, the sounds are sort of a relative of radio drama and believe it or not, they’re intended to be healing sounds cris. [CRIS]No way. I mean, the idea that the clock was kind of coming forwards and going backwards into the distance this stuff is pure terror! [MACK]I did mess around with the sounds a little bit, but these are sounds that are supposed to help you become the best person that you can possibly be. Welcome back to another episode of Phantom Power where we explore the world of sound in the arts and humanities. I’m Mack Haygood.  [CRIS]And I’m cris cheek.  [MACK]cris is a poet and performance artist. I’m a scholar of media and communication. Welcome to season two. Today we examine the strange and obscure history of sound being used as a diagnostic tool for the betterment of human beings. Now, how can anyone think that the chilling film noir sounds we just heard could possibly be good for you? Well, maybe I should just let our guest explain it.  [CRIS]Exactly.  [MACK]So let’s introduce her.  [MARA MILLS] My name’s Mara Mills.

             This episode, we talk with Jennifer Lynn Stoever--editor of the influential sound studies blog Sounding Out!--about her new book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). We tend to think of race and racism as visual phenomena, but Stoever challenges white listeners to examine how racism can infect our ears, altering the sound of the world and other people. We discuss the history of American prejudicial listening since slavery and learn how African American writers and musicians have pushed back against this invisible "sonic color line.”Works discussed include Richard Wright's Native Son and music by Huddie Ledbetter (Lead Belly), Fishbone, and Lena Horne.Additional music by Graeme Gibson and Blue the Fifth.  Transcript [low humming playing] [CRIS CHEEK]This…is…Phantom Power. [COMPUTERIZED VOICE]Episode 5. [CRIS]Ears racing. [low humming and contemporary music fades in] [MACK HAGOOD]Race. We think of it as a visual phenomenon. [CRIS]But race has sound too. [DIFFERENT VOICES GIVING GREETINGS]Hey guys, welcome back. Hi sisters. Hey Jim, (inaudible). Hey everyone. Hey! [CRIS]When you heard those voices, did you give them a race, a class, perhaps some kind of assignation of character and if so, why do we do this? Where does this discriminating ear come from?  [MACK]I’m Mack Hagood, [CRIS] and I’m cris cheek. [MACK]Today on Phantom Power we listen, to race or to put it more correctly, we examine how we are always listening to race. Our guide is Jennifer Lynn Stoever, Associate Professor of English at the State University of New York Binghamton. Stover is the author of the “Sonic Color Line: Race and the Cultural Politics of Listening” a book that argues that white racism depends just as much on the ear as it does the eye. She shows how listening has been used since slavery to distinguish and separate black and white and how African American artists and critics like Richard Wright Leadbelly and Lena Horne have identified, critiqued, and push the boundaries of this sonic color line. [techno-like music and a choir play in the background, then fade out] [MACK]Cris, when I spoke to Jennifer, she reminded me of a story that really shows how high the stakes of this kind of listening can be. [JENNIFER STOEVER]You know, I talk  in the opening of the book about the case of Jordan Davis.  [piano music fades in] [MALE NEWS REPORTER]It happened November 23rd, 47-year-old Michael Dunn told investigators he felt threatened at a gas station. Parked side by side with an SUV full of teenagers, the alleged gunman complained they were playing their music too loud. [JENNIFER]Jordan and his friends are playing hip hop at the gas pump. They were driving they had their music on. They were getting gas. Gas stations in theory (are) a transitory shared space where we all come in with our music we pump our gas and we leave. [MALE NEWS REPORTER]Detective say Dunn confronted Davis who was in the backseat and told him to turn the music down. [JENNIFER]The white man at question felt a proprietary access to the soundscape both it if he decided it was too loud, is too loud for everybody there, that his sensibility should be catered to. That there is a way that a gas station should sound and hip hop is not part of that. And when they said no, he saw that as as aggression. [MALE NEWS REPORTER]Dunn’s attorney says his client thought he saw a gun so he pulled his own weapon and started shooting. [last line echos a few times] [JENNIFER]Shot into the car. [MALE NEWS REPORTER]Firing at least eight shots. [JENNIFER]And killed a young man. [MALE NEWS REPORTER]Investigators never found a gun and the teen’s car. [ethereal music plays in the background] [MACK]In her book, Jennifer Stoever has a term for the way Michael Dunn heard Jordan Davis at that gas station back in 2012. The listening ear. [ethereal music cuts out] [JENNIFER]The listening ear helps us get at what’s really happening in a case li...

This time we talk with a fascinating sound artist and composer Mack met at a recent meeting of the Society for Literature, Science, and the Arts. As his website puts it, "Brian House is an artist who explores the interdependent rhythms of the body, technology, and the environment. His background in both computer science and noise music informs his research-based practice. Recent interests include AI, telegraphy, and urban rats." If that description looks a little daunting on the screen, the work itself sounds really cool to cris and Mack. We'll listen to three pieces of Brian's: a composition that imprints motion-tracking data on collectible vinyl, a field recording from the Okavango Delta in Botswana, and an encounter with the wildlife that put the "burrows" in New York's five boroughs.Links to works discussed: Quotidian Record (2012), Urban Intonation (2017).Mack notes that it was incredible to edit this episode using Daniel Fishkin's daxophone arrangement of John Cage's "Ryoanji" (1983).The other music on today's episode is by Brian House and Graeme Gibson. Transcript [♪ ethereal music playing ♪][CRIS CHEEK]This… is… Phantom Power.[FEMALE COMPUTERIZED VOICE]Episode 3.[CRIS]Dirty Rat.[unidentified sounds raising and lowering in pitch, banging noises][CRIS]So, what are we listening to here, Mack?[MACK HAGOOD]What do you think we’re listening to here, Cris?[noises continue, Mack laughing][CRIS]I don’t know, what is that? Is that an owl, put through a filtering device or something?[MACK, still laughing]You think it sounds like an owl put through a filtering device? Let’s listen to some more.[CRIS]Oh, wow. So synthetic.[MACK]It sounds like an old theatre organ having a bad day.[CRIS]Oh, yeah, no, I’m hearing that now. A pipe organ.[MACK]Yeah.[CRIS]Or something that hasn’t got a lot of wheeze left in it.[MACK]Something sad is happening in the silent film.[CRIS]Something very sad is happening.[MACK]Harold Lloyd fell off the clock.[both laughing][CRIS]And so he did.[MACK]Alright, so… it’s… it’s rats.[CRIS]That’s a rat?![MACK]That’s a rat.[clanging noises begin, rat noises stop][MACK]So today we’re gonna meet the guy behind the rat recordings that you just heard a moment ago:  Brian House. He’s a composer and sound artist I met last November at the Conference for the Society of Literature, Science, and the Arts, which is this really crazy conference for interdisciplinary scholarship and creative experimentation. I met Brian, and when I heard about what he was working on, I just knew we had to have him on the show. His work uses sound to express relationships between bodies, human and nonhuman bodies, social relationships, geographic relationships, temporal relationships, and sonic relationships. So we’ll be hearing three different pieces of his:  a musical composition that traces human, urban, and transatlantic movement, a field recording from the wetlands of Botswana, and an installation that will take us into the underground boroughs of New York City. This is work that helps us make sense of relationships we normally can’t sense at all.[BRIAN HOUSE]Well, my name is Brian House, and I’m an artist based right now up here in Providence, though I frequently do work down in New York. Yeah, I’m up here at Brown University at the moment, working on my PhD in music.[♪ upbeat technological music ♪][CRIS]So, Mack – how does Brian get interested in rats when he’s working on music?[MACK]Well, I think in order to get into that, we need to understand more of his previous work and some of the themes that are going on in it.[BRIAN]You know, I’ve been particularly interested in the ideas of Henri Lefebvre, right, who, in his last writings, outlined this poetic methodology called “Rhythm Analysis.”[MACK]Yeah, yeah, he was the French Marxist sociologist, spent a good amount of time thinking about life in the city, and –[CRIS]And the design of the urban environment, and –[BRIAN]And that’s been the basis for a lot of my rece...

On our first episode of Phantom Power, we ponder those moments when the air remains unmoved. Whether fostered by design or meteorological conditions or technological glitch, the absence of sound sometimes affects us more profoundly than the audible. We begin with author John Biguenet discussing his book Silence (Bloomsbury, 2015) and the relationship between quietude, reading, writing, and the self. Next, we speak to poet and hurricane responder Rodrigo Toscano, who takes us into the foreboding silence in eye of a storm. Finally, our own co-host and poet cris cheek ponders the many contradictory experiences of "dead air" in an age of changing media technologies. Today's episode features music by our own Mack Hagood and by Graeme Gibson, who is currently touring on drums with Michael Nau and the Mighty Thread. Transcript [♪ ethereal music playing ♪] [CRIS CHEEK] This… is… Phantom Power. [MACK HAGOOD] Episode One. [CRIS] Dead Air. [RODRIGO TOSCANO] You know, silence… [JOHN BIGUENET] It’s like, uh, it’s like a vacuum… like a walkie-talkie, where you’ve gotta press the button to speak and let it go to hear. [CRIS] The signal drops out. [MACK] Hello, and thanks for joining us on Phantom Power, podcast about sound in the arts and humanities. Over the next six or seven episodes this season, we’ll be investigating how artists and scholars are thinking about sound, writing about sound, and using sound to make things. My name’s Mack Hagood, I’m a media scholar, a writer, and a musician. [CRIS] I’m cris cheek, I’m a poet. Sometimes a sound poet, sometimes an unsound poet. I’ve also done a lot of work with music over the years. And I’m gonna be learning a lot as we make this series in terms of thinking about listening and talking together. Sounds about sound. [MACK] And I don’t, I don’t know if this is ironic or fitting, but we’re starting off this first episode talking about silence. So today we sort of have a three parter. We’re thinking about the roles of silence, uh, in reading and writing, and we’re going to think about the dead air in the eye of a hurricane, this kind of silence that prestiges something terrible. And, um, then we’re going to think about silence as a disruption. You know, an interruption of your regularly scheduled broadcast, or what they call [CRIS] Dead air. [MACK] [laughing] So, cris, a long, long time ago, I was a 19 year old college student in New Orleans, Louisiana, at Loyola University. And I just took this, you know, intro English class with this professor named John Biguenet and he just made a huge impression on me, really started making me think in different ways. And then I went on with my life, and it turned out that this gentleman John Biguenet turned into a well known fiction writer, poet, playwright, um, he has written a collection of short stories called The Torturer’s Apprentice, which is just this sort of spellbinding collection that is a little bit Chekov, a little bit Kafka, a little bit Borges. Um, he’s won the O’Henry Award for Short Fiction, uh, he’s won a Harper’s Magazine Writing Award. He wrote this trilogy of plays about Katrina and the flooding of New Orleans. And now he’s written a book on silence, uh, for this series of short books that have titles like Bread, or, uh, Golf Ball. [laughing] So, just kind of thinking deeply about these quotidian objects in our everyday lives and John chose silence. I read it, it’s a terrific short book, I highly recommend it. And so the last time I was down in New Orleans, I went to his office and we had a terrific conversation. [♪ record crackles, loud bells chiming ♪] [JOHN] We may conjecture that somewhere in the cosmos, beyond the border of all human trace, a zone of silence awaits. [♪ bells chime again ♪] Always receding, of course, before the advance of future explorers. A great sea of stillness unperturbed by the animate. An utterly quiet virgin territory. Our imagination misleads us if we conceive of s...

Could Google’s heavy initial focus on residential subscribers, while putting the business community on the backburner, shortchange KCK’s and KCMO’s economic development hopes? Cultivating startups is a plus. But mid-size and large cities boost local economies by making existing companies of all sizes stronger, as well as attracting larger companies to town. Learn how a Kansas City, MO ISP is filling in the gaps with a combination of gigabit wireless (yes, wireless), back-end infrastructure and a business market focus. Computers & Tele-comm CTO Graeme Gibson lays out a game plan for delivering gigabit services that go to the heart of economic development, and in a way that increases odds for financial sustainability. Gibson breaks it down for listeners: *  The right service offerings increase business adoption rates; *  Segmenting your business market and communicating effectively matters; *  Why it makes sense marketing wireless services to businesses; *  Decisions about infrastructure such as Network Access Points (NAPs), data centers and backup sites directly impact the bottom line.

When it comes to speed, wireless advocates say this technology holds its own even in Kansas City where Google promises to deliver 1 gig connectivity. One home-grown Kansas City wireless ISP (WISP) is already delivering 2 gigabit services over a network with 10 gigabits of capacity. While the cellular industry promotes 12 Mbps speed and LTE as the future, CEO Graeme Gibson of Computers & Tele-com, Inc (CTC) explains in non-tech terms how WISPs use the latest wireless technologies to trump weak alternatives. Gibson lays out steps urban and rural communities can take to capitalize on gigabit wireless, often by incorporating fiber into the mix.  GigaOm Senior Writer Stacey Higginbotham joins us as co-host for this interview. Higginbotham has covered Kansas City and unlicensed spectrum issues extensively.

Graeme Gibson, author of The Bedside Book of Beasts, and recipient of the Order of Canada, explores the ways we humans relate emotionally, imaginatively, and physically to the natural world. His lecture entitled Echoes of a Working Eden, also addresses the damage done to us by our abandonment of Nature.

Graeme Gibson, author of The Bedside Book of Beasts, and recipient of the Order of Canada, explores the ways we humans relate emotionally, imaginatively, and physically to the natural world. Entitled Echoes of a Working Eden, his lecture also addresses the damage done to us by our abandonment of Nature. It was produced in collaboration with the Literary Review of Canada.

"Our common humanity, our common culture, will help make the connections."