Podcasts about sound poetry

How does timestamping shape the preservation and curation of literary sound? This roundtable episode brings together four SpokenWeb researchers––Jason Camlot, Tanya Clement, and Mike O'Driscoll in conversation with moderator Michael MacKenzie––to explore this deceptively simple yet profoundly complex question. What emerges is a layered, multidisciplinary view of timestamping, not just as a technical task, but as an archival, aesthetic, and philosophical practice.In Part One, the conversation begins by situating timestamping in broader historical and intellectual contexts. Panelists reflect on the epistemology of time, from ancient timekeeping and annalistic history to modern digital temporality. What does it mean to mark time, and how does a timestamp compare to a page number, an index, or a narrative structure?Part Two asks what it means to think critically about timestamping. Here, the guests draw on their scholarly practices to examine the subjectivity of timestamps, the tension between precision and ambiguity, and the role of annotation. The discussion turns to digital media's microtemporalities and how timestamps carry expressive, affective weight beyond their data function.In Part Three, the panel listens to an experimental performance by Jackson Mac Low and considers the challenge of timestamping layered or deliberately disorienting sound. What responsibilities do timestampers have in maintaining a balance between accessibility and artistic intention? Can timestamping illuminate without flattening?Part Four focuses on vocabulary. Why does it matter if we tag something as a “reading” versus a “performance”? How do controlled vocabularies shape what we can learn from large-scale literary audio corpora? This final section explores how even the smallest metadata decisions reflect theoretical commitments and institutional values.Ultimately, this episode makes one thing clear: timestamping is never neutral. It is an interpretive act, grounded in choices about meaning, representation, and access. From poetic performance to archival platforms, timestamping remains central to how we listen to—and understand—literary sound. Show Notes and Resources:Abel, Jordan. Nishga. McClelland & Stewart, 2021. pp.243-73Bernstein, Charles. “‘1–100' (1969) .” Jacket2, jacket2.org/commentary/1%E2%80%93100-1969. Accessed 17 Apr. 2025.Though cut from the episode, this appeared as an example from O'Driscoll during the uncut roundtable and stands alone as a fascinating example of marking time. You can access a full performance of the short poem by Bernstein hosted at the above link, at Jacket2. O'Driscoll: “The numerological is itself potentially … not a neutral medium. It is potentially an expressive medium … so that timestamps can have an aesthetic, they carry value and meaning, they can shape the way that we think about things and that they're subject to a level of performance as well too.”“Charles Bernstein (Poet).” Wikipedia, Wikimedia Foundation, 15 Feb. 2025, en.wikipedia.org/wiki/Charles_Bernstein_(poet).Bolter, Jay David, and Richard Grusin. Remediation. MIT Press, 2000.One central point of departure for our research, though we had to cut our remediation questions due to time. “Eadweard Muybridge.” Wikipedia, Wikimedia Foundation, 10 Apr. 2025, en.wikipedia.org/wiki/Eadweard_Muybridge.Eliot, T. S. “‘Burnt Norton' from Four Quartets.” Four Quartets - 1 Burnt Norton, www.davidgorman.com/4quartets/1-norton.htm. Accessed 17 Apr. 2025.“Gertrude Stein.” Wikipedia, Wikimedia Foundation, 28 Mar. 2025, en.wikipedia.org/wiki/Gertrude_Stein.“Hayden White.” Wikipedia, Wikimedia Foundation, 5 Mar. 2025, en.wikipedia.org/wiki/Hayden_White.“Jackson Mac Low at SGWU, 1971.” Edited by Jason Camlot and Max Stein, SpokenWeb Montréal, 17 Aug. 2015, montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1.The full version of the recording shown during the episode can be found here. The portion shown during the episode begins at 1:09:35.“Jackson Mac Low.” Wikipedia, Wikimedia Foundation, 30 Mar. 2025, en.wikipedia.org/wiki/Jackson_Mac_Low.“Susan Stewart (Poet).” Wikipedia, Wikimedia Foundation, 14 Sept. 2024, en.wikipedia.org/wiki/Susan_Stewart_(poet).Though cut from the episode, Stewart's work on the “souvenir” appeared as an example from Camlot during the uncut roundtable helping bridge the gap between timestamp and annotation. Camlot: “I would probably want to think of it as a dialectical relation between the timestamp, sort of the demarcated moment and times unfolding, and then the larger narrative account within which the timestamp has significance … like Susan Stewart's work on the souvenir … this sort of partial representation of a whole that can only be supplemented by narrative.”“Wolfgang Ernst (Media Theorist).” Wikipedia, Wikimedia Foundation, 12 Apr. 2024, en.wikipedia.org/wiki/Wolfgang_Ernst_(media_theorist).More information about our participants can be found at: “Jason Camlot.” Concordia University, www.concordia.ca/faculty/jason-camlot.html. Accessed 17 Apr. 2025.“Michael O'Driscoll.” English and Film Studies, University of Alberta, apps.ualberta.ca/directory/person/mo. Accessed 17 Apr. 2025.“Tanya Clement.” College of Liberal Arts at UTexas, liberalarts.utexas.edu/english/faculty/tc24933. Accessed 17 Apr. 2025.Music Credits:This podcast uses music from www.sessions.blue: For post-question pauses, we used Jemeneye by Blue Dot Sessions (www.sessions.blue).For framing the podcast itself, we used the song The Griffiths by Blue Dot Sessions (www.sessions.blue).For framing the roundtable and preceding questions, we used portions of the song “Town Market” by Blue Dot Sessions (www.sessions.blue).This podcast also uses these sounds from freesound.org:"Mechanical Keyboard Typing (Bass Version)" by stu556 ( https://freesound.org/people/stu556/sounds/450281/? ) licensed under Creative Commons 0"Monitor hotler", by iluminati_2705 ( https://freesound.org/people/iluminati_2705/sounds/536706/ ) licensed under Creative Commons 0"Monitor hotler", by tobbler ( https://freesound.org/people/tobbler/sounds/795373/ ) licensed under Attribution 4.0“aluminum can foley-020.wav”, by CVLTIV8R ( https://freesound.org/people/CVLTIV8R/sounds/800102/ ) licensed under Creative Commons 0“whoosh_fx”, by ScythicBlade ( https://freesound.org/people/CVLTIV8R/sounds/800102/ ) licensed under Creative Commons 0“ignite_dry_02”, by DaUik ( https://freesound.org/people/DaUik/sounds/798712/ ) licensed under Creative Commons 0“Dewalt 12 inch Chop Saw foley-049.wav”, by CVLTIV8R ( https://freesound.org/people/CVLTIV8R/sounds/802856/ ) licensed under Creative Commons 0“Electronic Soap Dispenser 5”, by Geoff-Bremner-Audio ( https://freesound.org/people/Geoff-Bremner-Audio/sounds/802734/ ) licensed under Creative Commons 0 Acknowledgments:We thank Jason Camlot, Tanya Clement, and Michael O'Driscoll for their contributions to the roundtable. Additional thanks to Michael O'Driscoll, Sean Luyk, and the SpokenWeb Podcast team for production support. Technical support was provided by the Digital Scholarship Centre, University of Alberta.

Episode SummaryThis podcast episode performs a sound-media meditation on a live event based on a collection of printed scholarly articles. In May 2023 a triple-issue of English Studies in Canada (ESC) was published on the topic of “New Sonic Approaches in Literary Studies.” Edited by Jason Camlot and Katherine McLeod. The issue, designed to explore how sound, literature, and critical methodologies intersect, included thirteen scholarly articles, and an interdisciplinary forum on the place of listening as a methodology in a wide range of scholarly and artistic fields.As the editors considered what kind of “launch” would be best suited to this issue, they felt it should build on the printed scholarship, but also take it further – respond to it,  sound it, and perform it. They asked, “What would this journal issue sound like as a chorus or collage of voices?” They proceeded to organize an event to enact the idea of sounding and performing a scholarly collection as a kind of poetic reading of criticism. Each contributor was invited to select an excerpt to perform, and the performances unfolded in sequence within the 4th Space research showcase venue at Concordia University, and through the virtual participation of some contributors on Zoom. The performance event was also the object of an experiment in the multi-track recording of a spoken word event, with microphones of different kinds situated throughout 4th Space, and even outside the venue itself.The eight tracks of audio resulting from that recording session serve as the raw material, the bed tracks, for a podcast that playfully explores the affordances of sound design for the presentation of scholarly research about literary audio. Some of the simple yet profound possibilities of working in sound to think and argue about sound that are explored here are those of amplitude (playing with the relative loudness of sounds), temporality (the movement and mixing of historically-situated times), speed (the movement of sounds in time), space (the relationship of sounds to the places they happened), noise (the sounds we are supposed not to want to hear), intelligibility (the intention of sounding for meaning), positionality (from where and to whom one is sounding), timbre (the textural quality of sounds and what they do), among many others. The goal of this production has not been to deliver the content of the journal as one might grasp it from the print journal (read the special issue for that!), but to emphasize the possibilities and features of sound, sometimes apposite and sometimes in opposition to the intention and circumstances of the intended message. Archival voices and sounds haunt, taunt and disrupt the planned “Sounding New Sonic Approaches” event. Parallel temporal situations compete with each other. Time is sped and stretched. Speech and vocal timbre are mimicked and mutated by an occasional soundtrack scored for monotonic analogue synths. One mode of meaning is lost, while the potential for new kinds of meaning and feeling-making in sonic scholarly production are amplified for the listener's consideration and pleasure.In-person and online performers: Jason Camlot, Katherine McLeod, Annie Murray, Michael O'Discoll, Mathieu Aubin, Julia Polyck-O'Neill, Jason Wiens, Klara du Plessis, Kandice Sharren, Kelly Baron, Nina Sun Eidsheim, Juliette Bellocq, Kim Fox, Reem Elmaghraby, Daniel Martin, Kristen Smith, Kristin Moriah, Mara Mills, Andy Slater, and Ellen Waterman.Live Recording Event produced by Jason Camlot, Katherine McLeod, James Healey, and Douglas Moffat.Podcast and Sound Design by Jason Camlot.

We should require of prose what we expect of poetry: vividness, compression, and good sound. The last of these is often neglected by prose writers, as though they were working in a silent genre, or sound was merely a decorative concern. Wrong. What Duke Ellington said of music—“If it sounds good it is good" - holds true for writing. So does the converse: if it isn't music, it can't be wisdom. This Eleventh Hour talk will present how central good sound is to fiction and nonfiction writing - providing examples and techniques for improving sound in prose.

A fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode. If you are a SpokenWeb RA with an archival clip to feature on ShortCuts, do write to us at spokenwebpodcast@gmail.com with your pitch. Host and Series Producer: Katherine McLeodSupervising Producer: Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodProduction Manager and Transcriber: Kelly CubbonARCHIVAL AUDIOCheck the transcript for the timestamps for where this audio appears in the episode and for a map for all of the sounds. Here is a list with links for finding out more about these archival recordings.Katherine McLeod, from ShortCuts 3.1 “Sounds”: https://spokenweb.ca/podcast/episodes/sounds/Katherine McLeod, from ShortCuts 3.9 “Re-Situating Sound”: https://spokenweb.ca/podcast/episodes/re-situating-sound/Archival audio, Dionne Brand, 1988 reading, from ShortCuts 3.3 “Communal Memories”: https://spokenweb.ca/podcast/episodes/communal-memories/Archival audio: Douglas Barbour, from Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Penny Chalmers (Penn Kemp) at the University of Alberta, February 18, 1977; Douglas Barbour introducing Leona Gom at the University of Alberta, February 21, 1980; Douglas Barbour, from John Newlove at the University of Alberta, March 19, 1981 — all from ShortCuts 3.6 “Listening Communities: The Introductions of Doug Barbour” (guest produced by Michael O'Driscoll): https://spokenweb.ca/podcast/episodes/listening-communities-the-introductions-of-douglas-barbour/Archival audio, Daphne Marlatt, 1970, from ShortCuts 3.4 “Sonic Passages”: https://spokenweb.ca/podcast/episodes/sonic-passages/ Daphne Marlatt interview with Karis Shearer and Megan Butchart played on “SoundBox Signals presents Performing the Archive” an episode of SoundBox Signals that was aired on The SpokenWeb Podcast (co-produced by Karis Shearer, Megan Butchart, and Nour Sallam), clipped on ShortCuts 3.4: https://spokenweb.ca/podcast/episodes/sonic-passages/Interview with Kelly Cubbon, “Talking Transcription: Accessibility, Collaboration, Creativity,” (co-produced by Kelly Cubbon and Katherine McLeod), S3E9 The SpokenWeb Podcast, June 2022: https://spokenweb.ca/podcast/episodes/talking-transcription-accessibility-collaboration-and-creativity/Interview with Kaie Kellough, ShortCuts 3.5 “The Voice that is the Poem”: https://spokenweb.ca/podcast/episodes/the-voice-that-is-the-poem-ft-kaie-kellough/Archival audio, Oana Avasilichioaei, from ShortCuts 3.8: https://spokenweb.ca/podcast/episodes/the-event/Archival audio, bpNichol, November 1968, from ShortCuts 3.2: “What the Archive Remembers”: https://spokenweb.ca/podcast/episodes/what-the-archive-remembers/Archival audio, Phyllis Webb, from ShortCuts 3.7 “Moving, Still”: https://spokenweb.ca/podcast/episodes/moving-still/

SUMMARYThis month, ShortCuts will be released on the first day of the 2022 SpokenWeb Symposium. Diving into a recording that concluded last year's symposium, producer Katherine McLeod plays excerpts from Oana Avasilichioaei's live performance of “Chambersonic (IV)” and Klara du Plessis's reading of “Post-Mortem of the Event.” What is the sound of this event? Listening to the recording now invites reflections on what this event sounds like: how do we hear its affect, its traces, and how it shifts in time?EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Series Producer: Katherine McLeodHost: Hannah McGregorSupervising Producers: Judith Burr and Kate MoffattAudio Engineer / Sound Designer: Miranda EastwoodARCHIVAL AUDIOAudio excerpted in this ShortCuts is from a recording of The Words & Music Show, online, on May 23, 2021, with readings by symposium participants Kevin McNeilly, Klara du Plessis, SpokenWeb community members Cole Mash and Erin Scott, and a featured performance by Montreal-based poet and SpokenWeb collaborator Oana Avasilichioaei.RESOURCESWatch the filmpoem “Tracking Animal (an extemporization)” by Oana Avasilichioaei.Read and listen to an early version of “Chambersonic (I)” published in The Capilano Review.Read and explore Oana Avasilichioaei's “Living Scores” (Blackwood Gallery).See FONDS (Anstruther) by Klara du Plessis and read her book Hell Light Flesh (Palimpsest).Learn more about The Words & Music Show by listening to “The Show Goes On: Words & Music in a Pandemic,” produced by Jason Camlot for The SpokenWeb Podcast (Feb 2022).Learn more about the 2021 SpokenWeb Symposium by listening to “Listening, Sound, Agency: A Retrospective Listening to the 2021 SpokenWeb Symposium,” produced by Mathieu Aubin and Stephanie Ricci for The SpokenWeb Podcast (March 2022).Learn all about the 2022 SpokenWeb Symposium and future SpokenWeb events here.

Our guest-producer this month, Michael O'Driscoll, invites us to listen to the introductions of the late Douglas Barbour (March 21, 1940 - Sept 25, 2021) from readings held at the University of Alberta. What are we listening to when we hear introductory remarks from past readings spliced together? By asking us to listen to remember, this episode remembers Barbour in his element —in sonic performance — and what we hear in the selected recordings is a combination both of poetic sound and sounds of deep care as he welcomes each writer to the microphone. EPISODE NOTESA fresh take on sounds from the past, ShortCuts is a monthly feature on The SpokenWeb Podcast feed and an extension of the ShortCuts blog posts on SPOKENWEBLOG. Stay tuned for monthly episodes of ShortCuts on alternate fortnights (that's every second week) following the monthly SpokenWeb podcast episode.Guest Producer: Michael O'DriscollSeries Producer: Katherine McLeodHost: Hannah McGregorSupervising Producer: Judith BurrGUEST PRODUCERMichael O'Driscoll is a Professor in the Department of English and Film Studies in the Faculty of Arts at the University of Alberta. He teaches and publishes in the fields of critical and cultural theories with a particular emphasis on deconstruction and psychoanalysis, and his expertise in Twentieth-Century American Literature focuses on poetry and poetics as a form of material culture studies. His interests in material culture range from sound studies, archive theory, radical poetics, and technologies of writing to the energy humanities and intermedia studies. He is a Governing Board Member and a member of the U of Alberta research team for the SpokenWeb SSHRC Partnership Grant.AUDIOAudio played in this ShortCuts is excerpted from the SpokenWeb's audio collections held by the University of Alberta. The audio is currently being catalogued by SpokenWeb researchers. Audio of Douglas Barbour reading “The Gone Tune” is from the cassette tape recording of The Bards of March (15 March 1986). Audio of Douglas Barbour's introductions are selected from readings recorded in 1977-1981. The poets introduced are, in order of audio appearance: Tom Wayman, Phyllis Webb, Fred Wah, Maxine Gadd, George Bowering, Roy Kiyooka, Penn Kemp, Leona Gom, John Newlove, Sheila Watson, Robert Kroetsch, and bpNichol. RESOURCESNeWest Press: IN MEMORIAM: DOUGLAS BARBOUR (1940-2021), https://newestpress.com/news/in-memoriam-douglas-barbour-1940-2021 Douglas Barbour (March 21, 1940 - September 25, 2021), https://robmclennan.blogspot.com/2021/09/douglas-barbour-march-21-1940-september.html“Sounds of Trance Formation: An Interview with Penn Kemp.” Produced by Nick Beauchesne & Penn Kemp forThe SpokenWeb Podcast and starts with a clip from the Trance Form reading hosted by Douglas Barbour at the University of Alberta (1977).

While her subjects are varied, and her interests and approaches have evolved over the years, poet Penn Kemp has always understood the power of spoken word to evoke emotion, shift consciousness, and shape the world. Drawing on a syncretic blend of spiritual philosophy informed by Buddhist, Hindu, and Celtic wisdom traditions, Kemp's work is imminent and transcendent, embodied and cerebral. The words on the page produce certain effects, while the voices in the air produce others altogether.In conversation with SpokenWeb Researcher Nick Beauchesne, a clip from Kemp's performance of Trance Form at the University of Alberta (1977) is brought into conversation with more recent material from When the Heart Parts (2007) and Barbaric Cultural Practice (2017). The episode concludes with a live reading from Kemp's brand-new Pandemic Poems (2020). 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:Nick Beauchesne completed his PhD in English at the University of Alberta in 2020; he studies the magical practices of modernist “little magazine” culture and works as a research assistant on the SpokenWeb Edmonton team. Nick has been a performance artist and vocalist for over 20 years, going by his magical name of Nix Nihil. His music is available at soundcloud.com/nixnihil.Penn Kemp has been giving creativity workshops, teaching and performing her poetry since 1966. A Canadian poet, performer and playwright Penn has been celebrated as a trailblazer since her first publication of poetry by Coach House (1972), a “poetic El Niño”, and a “one-woman literary industry”. Her latest poetry is River Revery (Insomniac, 2019) and forthcoming in 2020 is P.S., a collaboration of poems with Sharon Thesen (Kalamalka Press).Voices Heard:Penn Kemp, Nick Beauchesne, Nix Nihil, Ann Anglin, Bill Gilliam, John MagyarSpecial Thanks to Adam Whitaker-Wilson for technical assistance and recording resources. Douglas Barbour for hosting the Trance Form reading at U of A in 1977.Print References:Penn Kemp's Pandemic Poems originally published in:Belanger, Joe. “It's time to embrace London's poet laureate, Penn Kemp, and all artists.” London Free Press. 11 Apr. 2020. https://lfpress.com/opinion/columnists/belanger-its-time-to-embrace-londons-poet-laureate-penn-kemp-and-all-artists. Accessed 17 Nov. 2020.Kemp, Penn. “PENN KEMP - Home.” Weebly. http://pennkemp.weebly.com/. Accessed 17 Nov. 2020.Kemp, Penn. “Penn Kemp: Penn, poet/playwright/performer.” Wordpress. https://pennkemp.wordpress.com/. Accessed 17 Nov. 2020. Kemp, Penn, and Bill Gilliam. From the Lunar Plexus. Pendas Productions, 2001.Kemp, Penn, and Bill Gilliam. "Night Orchestra." Barbaric Cultural Practice, Quatrro Books, 2017. Kemp, Penn. Trance Form. Soft Press and Pendas Productions (reprint), 2006. Recordings:Kemp, Penn. “[Night Orchestra] Barbaric Cultural Practice.”  Soundcloud, https://soundcloud.com/penn-kemp/sets/barbaric-cultural-practice. Accessed 17 Nov. 2020.Kemp, Penn. "Penn Kemp - Trance Form, Live at U of A, February 18, 1977 (1).” Soundcloud, https://soundcloud.com/penn-kemp/penn-kemp-trance-form-live-at-u-of-a-february-18-1977-1. Accessed 17 Nov. 2020. Kemp, Penn. Trance Dance Form, Pendas Productions, 2006.Kemp, Penn. “When the Heart Parts - Sound Opera.”  Soundcloud, https://soundcloud.com/penn-kemp/when-the-heart-parts. Accessed 17 Nov. 2020.Ambient vocal loops and drones courtesy of Nix Nihil.

Josh interviews Dez'Mon Mega Fair, an interdisciplinary artist and poet. Dez'Mon is pioneering novel sonics which explores the use of long-form soundscape and audio recordings of riddles, prose, poems and chants. We talk about how art can be a form of therapy and a way to process emotions. This is part 1 of 2 part interview showcasing Dez'Mon's novel sonics. Show notes and Timestamps: https://loveisillustrated.com/the-art-of-sound-poetry/ Connect with Dez'Mon Omega Fair: http://www.dezmonomegafair.com/ https://www.instagram.com/dezmonomegafair/

Aurelio Meza Valdez is on a collaborative quest for archiving audio traces of Spanish language poetry before they vanish. A collaboration between Concordia University in Montreal and UNAM in Mexico City, he presents the PoéticaSonora project, an online repository attempting to archive Mexican sound poetics in all their diversity and sometimes revendications. Don't miss this segment as it includes one of our favourite sound pieces presented on the show so far! This segment is an excerpt from REC - Episode 2. Continue your exploration of research-creation on: rec.hexagram.ca

Aurelio Meza Valdez is on a collaborative quest for archiving audio traces of Spanish language poetry before they vanish. A collaboration between Concordia University in Montreal and UNAM in Mexico City, he presents the PoéticaSonora project, an online repository attempting to archive Mexican sound poetics in all their diversity and sometimes revendications. Don’t miss this segment as it includes one of our favourite sound pieces presented on the show so far! This segment is an excerpt from REC - Episode 2. Continue your exploration of research-creation on: rec.hexagram.ca

Aurelio Meza Valdez is on a collaborative quest for archiving audio traces of Spanish language poetry before they vanish. A collaboration between Concordia University in Montreal and UNAM in Mexico City, he presents the PoéticaSonora project, an online repository attempting to archive Mexican sound poetics in all their diversity and sometimes revendications. Don't miss this segment as it includes one of our favourite sound pieces presented on the show so far! This segment is an excerpt from REC - Episode 2. Continue your exploration of research-creation on: rec.hexagram.ca

I suspect this chat with A.J. Carruthers about experimental poetry in Australia will kick start your next poem. We cover a lot of ground, from defining sound poetry to whether experimental work needs more recognition. But my favourite moment is when A.J. says: ‘Poetry is not a profession. It doesn't profess, but it does. It's about … Continue reading "Ep 86. A.J. Carruthers on sound poetry and experimentalism"

Stephen Ruppenthal has a sneakily amazing history. Having worked with Allen Strange, watched Don Buchla develop his early machines, and working with electro-acoustic wizard across the world, Stephen has been involved with many of the greats of modern electronics, including being a member of the Electric Weasel Ensemble with Strange, Buchla and others. But Ruppenthal is more than a synth-jockey; he is also an accomplished brass player, and his new album (Flamethrower, available on Ravello Records) features his electronic, studio and amazing horn playing in equal parts. Featuring work by Strange, Elainie Lillios, Brian Belet and others, this release is the kind of Electro-acoustic work that will draw in the most sophisticated of sound designers, too. Stephen and I had a great discussion, ranging from his interests in Sound Poetry, to his work with the early greats of electronic music, to his scoring techniques and recent work with Lillios, Belet and others. I learned a lot from my discussion with Stephen, and I hope you enjoy it as well. You can also check out more of his work on his Soundcloud page: https://soundcloud.com/srupp-1 Enjoy!

Experimental writer Matea Kulić joins co-hosts Pamela Bentley and Kevin Spenst to discuss poetry warm-ups, the different ways in which poetry can be performed, and the poetic value of being a prolific email writer.

This show was recorded live after one of the 5 shows in Footscray. Featuring Steve Smart, Loran Steinberg and Jez PA Speelman.

MInd Traveling Severe180

Visiting from Montreal, Kaie Kellough drops by to chat with RC about sound poetry, race, and growing up in Calgary.

In association with the Otago University Poetry Collective and with the support of the Performing Arts Fund, poet and artist Jaap Blonk talks about his work in the context of sound poetry, improvisation, and new music. 28 February 2013

In association with the Otago University Poetry Collective and with the support of the Performing Arts Fund, poet and artist Jaap Blonk talks about his work in the context of sound poetry, improvisation, and new music. 28 February 2013

In association with the Otago University Poetry Collective and with the support of the Performing Arts Fund, poet and artist Jaap Blonk talks about his work in the context of sound poetry, improvisation, and new music. 28 February 2013

Jaap Blonk is a self-taught composer, vocal performer and sound poet. As a vocalist, Blonk has performed around the globe exciting audiences with his powerful stage presence and childlike improvisation. Live electronics have over the years extended the scope and range of his concerts. Besides working as a soloist, he has collaborated with many musicians and ensembles, including Maja Ratkje, Mats Gustafsson, Nicolas Collins, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He was the founder and leader of the long-standing bands Splinks (modern jazz, 1983-1999) and BRAAXTAAL (avant-rock, 1987-2005). We talk here about the noises humans make that aren't words, how important they are in communication, and the way sound poetry utilizes them; about meaning found in intonation and getting booed, the pleasure of inventing structures, Dadaism and the breaking of rules, Johnny Van Doorn and A Bridge too Far, the international phonetic alphabet, pitch, timber and the best English language sound poets. Listen, and brace yourself for the recital of a sonnet Jaap wrote in honour of Van Doorn.   Please listen here:

Tellus's trove of '80s recordings, from ethnopoetics to Paul Bowles.

How to speak modern... modern, like, 3 decades ago "How To Speak Modern" by Michael O'Brien and John Elk Intro messages from The Rockford Files and "Say Hello To Rockford" Gil Scott Heron: "The Revolution Will Not Be Televised" T-Rex: "Children Of The Revolution" The Bowery Riots: "Can't Get Out" The Last Poets: "This Is Madness" Rick Harris: "Is It Real? (excerpt)" Mix of various sound poems by Henri Chopin featuring excerpt of his essay "Why I Am The Author of Sound Poetry and Free Poetry" Gogol Bordello: "60 Revolutions" B.B. Gabor: "Moscow Drug Club" & "Soviet Jewelry" The Modern Lovers: "Modern Lovers" Subscribe to my YouTube channel: transpondency Subscribe to transpondency.blip.tv email: suburban@transpondency.com myspace: transpondency