Podcasts about Sound studies

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/new-books-network

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/history

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/literary-studies

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/communications

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/science-technology-and-society

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/sound-studies

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. Music by Graeme Gibson Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we present the first episode of a miniseries on audiobooks by getting into the history and theory of the medium. Audiobooks are having a moment—and it only took them over a century to get here. Dr. Matthew Rubery, a Harvard PhD and Professor of Modern Literature at Queen Mary University of London, pioneered the study of the audiobook, its history, and its affordances.  Among his other works, Dr. Rubery is the author of The Untold Story of the Talking Book (2016, Harvard University Press). He's also the editor of Audiobooks, Literature, and Sound Studies (2011, Routledge). Matt's latest book is titled Reader's Block: A History of Reading Differences (2022, Stanford University Press).  In this fascinating conversation, we discuss the long history of recorded literature; the weird shame around audiobook reading and its cultural roots; the interplay between disability, neurodivergence, and alternate forms of reading; and what an audiobook criticism might look like.  And for our patrons, we'll have our What's Good segment at the end of the show, where Matt will tell us something good to read, something good to listen to. Something good to do. You can become a patron of the show at patreon.com/phantompower. Today's show was edited by Mack Hagood. Transcription by Katelyn Phan. 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/technology

What happens to your soul if your body falls into a comatose state?Thanks to a lovely psyckick named Martina, join Liv this Sunday as she tries to answer this question to the best of her spiritual capabilities. Listen as she shares her own answer to the question and musses the metaphysical possibilities of astral projection and how the soul may travel during such a physiological phenomena such as a coma. FOR MORE CHECK OUT THE YOUTUBE CHANNEL: https://www.youtube.com/@MetaPsycKicksOR READ THE BLOG: https://www.metapsyckicks.com/journalOR JOIN OUR PATREON: https://www.patreon.com/metapsyckicks——-BOOK A PSYCHIC MEDIUM READING:Olivia the Medium: https://www.metapsyckicks.com/liv-readings-----CHAPTERS:0:00 - Intro3:14 - Liv's Life Update8:46 - Martina's Question10:00 - Opinions on Astral Projection & Comatose Souls19:54 - Sound Studies in Comatose Patients23:35 - Comatose Experience Stories47:39 - Trying to Understand Astral Projection 56:31 - Thanks for Listening!-----RECOMMENDED PRODUCTS:Our YouTube Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-youtube-setupOur Podcast Setup ►► https://kit.co/metapsyckicks/meta-psyckicks-podcasting-setupEm's Tarot Collection ►► https://kit.co/metapsyckicks/em-s-tarot-card-collectionOther Divination Tools: ►► https://kit.co/metapsyckicks/other-divination-toolsDISCLAIMER: This description might contain affiliate links that allow you to find the items mentioned in this video and support the channel at no cost to you. While this channel may earn minimal sums when the viewer uses the links, the viewer is in NO WAY obligated to use these links. Thank you for your support!-----ARE YOU A PSYCHIC QUIZ: https://www.metapsyckicks.com/extrasTELL US YOUR PARANORMAL STORIES HERE: https://www.metapsyckicks.com/extrasCHECK OUT OUR WEBSITE AND BLOG:www.metapsyckicks.comEMAIL US: metapsyckicks@gmail.com——-SAY HI ON SOCIAL:YouTube: https://www.youtube.com/channel/UC-Np1K0QH8e-EDHhIxX-FaAInstagram: https://www.instagram.com/metapsyckicksTikTok: https://www.tiktok.com/@metapsyckicks?lang=enFacebook: https://www.facebook.com/Meta-PsycKicks-107812201171308Olivia The Medium:Instagram -  https://www.instagram.com/oliviathemedium/Threads -https://www.threads.net/@oliviathemedium?invite=4Email - oliviathemedium@gmail.com——-Sources:https://kids.frontiersin.org/articles/10.3389/frym.2019.00019#:~:text=They%20cannot%20speak%20and%20their,voice%20of%20a%20person%20speaking.Support this podcast at — https://redcircle.com/meta-psyckicks/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

World Listening Day takes place every year on July 18, which is also Canadian composer R. Murray Schafer's birthday. The day is organized  by the World Listening Project and is dedicated to understanding the world and its natural environment, societies, and cultures through the practice of listening.I have brought excerpts from 7 episodes from the 5th season of my conscient podcast that relate to the theme of the 2024 edition: ‘listening to the weave of time'. e157 sonic research group (part 1)Hildegard WesterkampThe most interesting part to me is to discover what we're not listening to and why we are not doing that. I think it's wonderful that I've had the chance to learn this listening from so early on where you're trained to listen to the environment and at that time it was more about listening to the sounds of the environment and critiquing them, analyzing them, trying to understand them. To me that subject has widened hugely and really has to do about listening in general and trying to understand why we are listening to things and why we're not listening to things. And so it becomes a political, social, cultural question on every level and when a society has a crisis, it's often really good to observe what we really don't want to listen to and who we are listening to and how we combine that. And I feel we are in a stage of real crisis right now. And that's why this subject matter has taken on great significance now. e162 terri hron - an ecological lensI think as musicians we have particular concerns that perhaps looking at those through an ecological lens can be helpful. One of them is to think about the structures of funding which allow us to operate and to maybe reconsider them because they might change. And to be open to that change and to find solutions. And those solutions might be that we need to advocate for other kinds of support, if we still want to advocate for support, or to engage in other types of activities to make a living. Maybe that sounds a little bit defeatist, but I am trying to think in a very pragmatic way about what might be helpful and useful to create a greater sense of security and happiness in the future.I think the only thing that I can do is to try and live with as much integrity as I can and, and avoid participating in the things that I consider to be the least aligned with my values.e170 sonic research group (part 2)Milena DroumevaSoundwalking is always like magic. It is a magical experience. It is so simple, Hildi, as you said, and it's as much about listening to sounds or listening to absences of sound. It's not very typical in our lives. We don't live the kinds of lives that require this kind of presence. And so it's restorative for me and calms my spirit. But also it's such a reminder each and every time I do a soundwalk of the power of just simply listening and opening up that register with all of its span from appreciation to analytics, to criticality and to spirituality. Jacek SmolickiWhat differentiates us from machines is historical consciousness. Algorithms are operating using biased and skewed data without considering the context within which this data has emerged. Our role as educators is to be reminders of historical context that this whole machinery is digesting and using it to produce futures comes from.Barry Truax I'm still cautiously optimistic that we could still use those same techniques that we've used in the past to create a more creative, analytical and critical listener.Hildegard WesterkampA group can become a community even though we don't know each other, which creates an atmosphere of willingness to be open and grounded inside ourselves. We can get to that energetic place because we've slowed down.Freya ZinonieffA music teacher at Columbia University was teaching John Cage's 4'.33'' and made a big fuss about how they couldn't teach that class because there was a loud protest outside the classroom and all she could hear was ‘from the river to the sea'. She said, okay, this just means we can't teach this now because it's ruining 4'.33''. We have to continue reminding ourselves and others that listening is a project and we need to learn together how to listen to what is actually there.e174 julie andreyev - more-than-human creativityAs an artist and educator, I see that this moment calls for a way of working through decolonization and forging a path of care. I like to think of this through multispecies communities so that, as humans, we're surrounded by more than human life, even in our urban environments. This path of care for our multi-species, communities that make up the neighborhood, the community, and ultimately the earth is where I see my call for research and practice. e175 sabine breitsameter - an aesthetic of careListening can teach us to appreciate our environment in a critical sense, but also in a kind of admiration for it. If we admire something because we think it has a depth or it has a beauty or some interesting aspects, we want to keep it, we want to foster it.e178 podium 2024 - what more can we sing and do?Deantha EdmundsIt is taking far too long for us to acknowledge the damage we have done to the world's water and to indigenous people and to take action : truth, reconciliation, change. Scientists have discovered that some whale songs actually evolve over time. It is my hope that the choirs who perform this work with me and all those who hear it will refuse to let what the whales are saying be lost in the ocean and will join their song in calling for respect and reciprocity.Elise NaccaratoStay humble, keep listening and keep learning. That is how we will use choral music as a way to advocate and change the environmental crisis that we're facinge180 mary edwards - capturing the beauty and terror of realityWe're all going to be affected by the same outcome. When I went up to Svalbard (Norway), I went with the intention of also capturing the beauty and the terror of the reality of these changes and how they can be at once fascinating to listen to, but also devastating to the environment.Listening is an inherent part of what I do. It's not just creating sound and music, but raising awareness. If we listen more intently to our environment, we can understand the health of our environment. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 7, 2024

Budhaditya Chattopadhyay's book Sound in Indian Film and Audiovisual Media: History, Practices and Production (Amsterdam UP, 2023) is an exhaustive attempt to study film sound in the Indian subcontinent through artistic research. It aims to fill a significant scholarly void by addressing issues of sound and listening within the cultural contexts of the Global South. By developing a comprehensive understanding of the unique soundscapes of Indian film and audiovisual media, his study examines the evolution of sound, from early optical recordings to contemporary digital audio technologies. It unfolds the intricate ways in which sound contributes to the storytelling, emotional resonance, and cultural significance of Indian films. Chattopadhyay's research is informed by his personal experiences as a sound practitioner and through extensive conversations with leading sound professionals across the Indian subcontinent. This approach allows for a deep dive into the practical and creative processes that shape the auditory dimensions of Indian cinema. Broadly, Chattopadhay's work is a significant contribution to film history, sound studies, and media studies. Budhaditya Chattopadhyay is a media artist, researcher, and writer. He has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Dr. Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of film studies, disability studies, production cultures, affect studies, anthropology of the body, creative media industries and cultural studies. She can be reached at https://twitter.com/PriyamSinha 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

Budhaditya Chattopadhyay's book Sound in Indian Film and Audiovisual Media: History, Practices and Production (Amsterdam UP, 2023) is an exhaustive attempt to study film sound in the Indian subcontinent through artistic research. It aims to fill a significant scholarly void by addressing issues of sound and listening within the cultural contexts of the Global South. By developing a comprehensive understanding of the unique soundscapes of Indian film and audiovisual media, his study examines the evolution of sound, from early optical recordings to contemporary digital audio technologies. It unfolds the intricate ways in which sound contributes to the storytelling, emotional resonance, and cultural significance of Indian films. Chattopadhyay's research is informed by his personal experiences as a sound practitioner and through extensive conversations with leading sound professionals across the Indian subcontinent. This approach allows for a deep dive into the practical and creative processes that shape the auditory dimensions of Indian cinema. Broadly, Chattopadhay's work is a significant contribution to film history, sound studies, and media studies. Budhaditya Chattopadhyay is a media artist, researcher, and writer. He has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Dr. Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of film studies, disability studies, production cultures, affect studies, anthropology of the body, creative media industries and cultural studies. She can be reached at https://twitter.com/PriyamSinha Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Budhaditya Chattopadhyay's book Sound in Indian Film and Audiovisual Media: History, Practices and Production (Amsterdam UP, 2023) is an exhaustive attempt to study film sound in the Indian subcontinent through artistic research. It aims to fill a significant scholarly void by addressing issues of sound and listening within the cultural contexts of the Global South. By developing a comprehensive understanding of the unique soundscapes of Indian film and audiovisual media, his study examines the evolution of sound, from early optical recordings to contemporary digital audio technologies. It unfolds the intricate ways in which sound contributes to the storytelling, emotional resonance, and cultural significance of Indian films. Chattopadhyay's research is informed by his personal experiences as a sound practitioner and through extensive conversations with leading sound professionals across the Indian subcontinent. This approach allows for a deep dive into the practical and creative processes that shape the auditory dimensions of Indian cinema. Broadly, Chattopadhay's work is a significant contribution to film history, sound studies, and media studies. Budhaditya Chattopadhyay is a media artist, researcher, and writer. He has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Dr. Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of film studies, disability studies, production cultures, affect studies, anthropology of the body, creative media industries and cultural studies. She can be reached at https://twitter.com/PriyamSinha Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Budhaditya Chattopadhyay's book Sound in Indian Film and Audiovisual Media: History, Practices and Production (Amsterdam UP, 2023) is an exhaustive attempt to study film sound in the Indian subcontinent through artistic research. It aims to fill a significant scholarly void by addressing issues of sound and listening within the cultural contexts of the Global South. By developing a comprehensive understanding of the unique soundscapes of Indian film and audiovisual media, his study examines the evolution of sound, from early optical recordings to contemporary digital audio technologies. It unfolds the intricate ways in which sound contributes to the storytelling, emotional resonance, and cultural significance of Indian films. Chattopadhyay's research is informed by his personal experiences as a sound practitioner and through extensive conversations with leading sound professionals across the Indian subcontinent. This approach allows for a deep dive into the practical and creative processes that shape the auditory dimensions of Indian cinema. Broadly, Chattopadhay's work is a significant contribution to film history, sound studies, and media studies. Budhaditya Chattopadhyay is a media artist, researcher, and writer. He has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Dr. Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of film studies, disability studies, production cultures, affect studies, anthropology of the body, creative media industries and cultural studies. She can be reached at https://twitter.com/PriyamSinha Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Budhaditya Chattopadhyay's book Sound in Indian Film and Audiovisual Media: History, Practices and Production (Amsterdam UP, 2023) is an exhaustive attempt to study film sound in the Indian subcontinent through artistic research. It aims to fill a significant scholarly void by addressing issues of sound and listening within the cultural contexts of the Global South. By developing a comprehensive understanding of the unique soundscapes of Indian film and audiovisual media, his study examines the evolution of sound, from early optical recordings to contemporary digital audio technologies. It unfolds the intricate ways in which sound contributes to the storytelling, emotional resonance, and cultural significance of Indian films. Chattopadhyay's research is informed by his personal experiences as a sound practitioner and through extensive conversations with leading sound professionals across the Indian subcontinent. This approach allows for a deep dive into the practical and creative processes that shape the auditory dimensions of Indian cinema. Broadly, Chattopadhay's work is a significant contribution to film history, sound studies, and media studies. Budhaditya Chattopadhyay is a media artist, researcher, and writer. He has an expansive body of scholarly publications in media arts history, artistic research, media theory and aesthetics in leading peer-reviewed journals. He is the author of five books, including The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), and Sound Practices in the Global South (2022). Dr. Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University. He is currently a Visiting Professor at the Institute Experimental Design and Media Cultures (IXDM), Basel, Switzerland, and a Marie Curie Postdoctoral Fellow at the Faculty of Fine Art, Music and Design (KMD), University of Bergen, Norway. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of film studies, disability studies, production cultures, affect studies, anthropology of the body, creative media industries and cultural studies. She can be reached at https://twitter.com/PriyamSinha Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Listening can teach us to appreciate our environment in a critical sense, but also in a kind of admiration for it. If we admire something because we think it has a depth or it has a beauty or some interesting aspects, we want to keep it, we want to foster it.I first met Sabine at the Tuning of the World Conference in Banff, Alberta in 1993.Sabine's work focuses on media art, listening culture, cultures of perception, experimental audiomedia, media history, media ecology, acoustic ecology as well trans- and intercultural studies. She has worked as an experimental audio media maker, working as director, author, curator and dramaturg for the cultural departments of the German public radio and was co-founder of the Master‘s program Sound Studies at the University of the Arts in Berlin and worked there as a professor for Experimental Audiomedia from 2004-2008.Since 2006 Sabine teaches and researches as a professor for Sound and Media Culture at the Darmstadt University of Applied Sciences in Germany where she is director of the Soundscape & Environmental Media Lab and 3D Audio Lab.As a scientific and artistic director she has curated numerous art projects, symposia and festivals. I was a guest speaker at one of these events in 2018, The Global Composition in Dieburg, Germany where I spoke about the origins of the World Forum for Acoustic Ecology in 1993.While on a trip to Canada in May 2024 Sabine stopped by my home in Ottawa to talk about her work and share her thoughts on art and the ecological crisis with a focus on listening and sound. I was struck by Sabine's observation about how artists are always careful with what they do, which Sabine defines as :a consciously shaped relationship with the world in a mindful attitude and with high appreciation for the phenomena of this world and its values.I was impressed by the parallel she draws between the poly-crisis of today and Frederich Schiller's On the Aesthetic Education of Man, written in 1795, which addresses the dehumanization and alienation of industrial labour through aesthetic education and the arts.I was also interested in this quote because my father's relatives emigrated from Germany to North America right around that period in the early 1800's. At the end of our conversation Sabine gave me a copy of the 2nd edition of Die Ordnung der Klänge (The Ordering of Sounds), her German translation of R. Murray Schafer's The Tuning of the World.Sabine suggested books were:On the Aesthetic Education of Man by Frederich SchillerAesthetics of Care: Practice in Everyday Life by Yuriko Saito *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 7, 2024

Det er som om, der er ekstra timer i Marie Højlunds døgn. Hun er nemlig både succesfuld forsker, musiker og komponist. Marie er lektor i Sound Studies på Aarhus Universitet og hertil har hun spillet musik i flere konstellationer: fra "Tiger Tunes" og "Marybell Katastrophy" til "Nephew" og soloprojektet "kh Marie". Hertil er hun huskomponist på Aarhus Teater og en af skribenterne bag flere af de meget succesfulde sange til Minisjang-universet på DR. Men hvad er lydforskning egentligt? Har du for eksempel tænkt over, hvor meget lyd og støj har af indflydelse på vores hverdag? Det har Marie tænkt rigtig meget over. Og så er det jo interessant at finde ud af, hvilken synergi opstår der mellem musikkens og videnskabens verden. Medvirkende: Marie Højlund. Vært: Emma Elisabeth Holtet og Andrew Davidson.See omnystudio.com/listener for privacy information.

The most interesting part to me is to discover what we're not listening to and why we are not doing that. I think it's wonderful that I've had the chance to learn this listening from so early on where you're trained to listen to the environment and at that time it was more about listening to the sounds of the environment and critiquing them, analyzing them, trying to understand them. To me that subject has widened hugely and really has to do about listening in general and trying to understand why we are listening to things and why we're not listening to things. And so it becomes a political, social, cultural question on every level and when a society has a crisis, it's often really good to observe what we really don't want to listen to and who we are listening to and how we combine that. And I feel we are in a stage of real crisis right now. And that's why this subject matter has taken on great significance now. - Hildegard Westerkamp, March 5, 2024 conscient podcast e157This is a special episode of the conscient podcast with 6 colleagues and friends from the Sonic Research Group at Simon Fraser University in Vancouver (this time with Milena Droumeva, Hildegard Westerkamp, Barry Truax, Julie Andreyev, Aaron Liu-Rosenbaum and myself). It's a group of 20 or so acoustic ecology researchers, activists and artists who get together every two weeks to talk about our practices and sound studies, and the things that interest us in and around the field of acoustic ecology and soundscape studies. I had the privilege of having five of my colleagues join me on a conversation about the theme of this year's podcast season: preparing for the end of the world as we know it (and the ‘as we know it' part is really important) and creating the conditions for other worlds to emerge. That's the challenge that I've given myself and my guests this season.I asked the group to think about the following set of questions: How does ‘preparing for the end of the work (as we know it)' apply in the context of acoustic ecology? How can our listening practices help us become more resilient in the face of the ecological crisis?How does ‘creating conditions for new worlds' apply in acoustic ecology? How can listening and sound studies contribute to creating these conditions? What are some of the barriers for acoustic ecology to step up?How do any projects you are working on relate to this theme and how can this work be amplified?Recommended reading and viewing in this episode include Jonathan Glazer's Zone of Interest film and Vanessa Andreotti's Hopicing Modernity book. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Matthew Rubery's book Reader's Block: A History of Reading Differences (Stanford UP, 2022) explores the influence neurodivergence has on the ways individuals read. This alternative history of reading is one of the few books which tells the stories of "atypical" readers and the impact had on their lives by neurological conditions affecting their ability to make sense of the printed word: from dyslexia, hyperlexia, and alexia to synesthesia, hallucinations, and dementia. Rubery's focus on neurodiversity aims to transform our understanding of the very concept of reading. Drawing on personal testimonies gathered from literature, film, life writing, social media, medical case studies, and other sources to express how cognitive differences have shaped people's experiences both on and off the page, Rubery contends that there is no single activity known as reading. Instead, there are multiple ways of reading (and, for that matter, not reading) despite the ease with which we use the term. Pushing us to rethink what it means to read; Reader's Block moves toward an understanding of reading as a spectrum that is capacious enough to accommodate the full range of activities documented in this fascinating and highly original book. Matthew Rubery is Professor of Modern Literature at Queen Mary University of London. His earlier books include The Novelty of Newspapers: Victorian Fiction after the Invention of the News (Oxford, 2009) and The Untold Story of the Talking Book (Harvard University Press, 2016). He has also edited or co-edited Audiobooks, Literature, and Sound Studies (Routledge, 2011), Secret Commissions: An Anthology of Victorian Investigative Journalism (Broadview, 2012), and Further Reading (Oxford, 2020). Currently, he is working on a history of “projected reading”, a form of assisted reading that involves projecting books on ceilings which a patient can read while lying in bed. This was first used to help World War 2 soldiers injured on duty who could not read conventionally. Matthew also likes to collaborate with charities and other organisations to think about ways of reading more suited to people with disabilities or neurodivergent readers. 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

Matthew Rubery's book Reader's Block: A History of Reading Differences (Stanford UP, 2022) explores the influence neurodivergence has on the ways individuals read. This alternative history of reading is one of the few books which tells the stories of "atypical" readers and the impact had on their lives by neurological conditions affecting their ability to make sense of the printed word: from dyslexia, hyperlexia, and alexia to synesthesia, hallucinations, and dementia. Rubery's focus on neurodiversity aims to transform our understanding of the very concept of reading. Drawing on personal testimonies gathered from literature, film, life writing, social media, medical case studies, and other sources to express how cognitive differences have shaped people's experiences both on and off the page, Rubery contends that there is no single activity known as reading. Instead, there are multiple ways of reading (and, for that matter, not reading) despite the ease with which we use the term. Pushing us to rethink what it means to read; Reader's Block moves toward an understanding of reading as a spectrum that is capacious enough to accommodate the full range of activities documented in this fascinating and highly original book. Matthew Rubery is Professor of Modern Literature at Queen Mary University of London. His earlier books include The Novelty of Newspapers: Victorian Fiction after the Invention of the News (Oxford, 2009) and The Untold Story of the Talking Book (Harvard University Press, 2016). He has also edited or co-edited Audiobooks, Literature, and Sound Studies (Routledge, 2011), Secret Commissions: An Anthology of Victorian Investigative Journalism (Broadview, 2012), and Further Reading (Oxford, 2020). Currently, he is working on a history of “projected reading”, a form of assisted reading that involves projecting books on ceilings which a patient can read while lying in bed. This was first used to help World War 2 soldiers injured on duty who could not read conventionally. Matthew also likes to collaborate with charities and other organisations to think about ways of reading more suited to people with disabilities or neurodivergent readers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Butera has gone on some intriguing journeys, connecting music performance passions, philosophy and sound studies, and tech in creating new musical instruments for regular people to get into music. He shares his path to launching Artiphon after years in academic circles, ways he learned how to market new devices and thrive with Kickstarter, and how the adventure is going so far as they get ready to release the Chorda in late 2023. Guest: Dr. Mike Butera, Founder & CEO, ArtiphonDr. Mike Butera is the founder & CEO of Artiphon, a music tech company designing smart instruments that anyone can play. Mike received his Ph.D. in Sound Studies from Virginia Tech and was a professor of Sociology and Philosophy for 6 years. Prior to founding Artiphon, Mike was a consumer electronics product designer, a touring musician, and a public speaker in music & technology. What are you most passionate about with your current work? : Inspiring people to be musical for just a minute every day!Links:https://artiphon.comhttps://www.linkedin.com/in/mikebutera/https://www.facebook.com/Artiphon

Episode 13: Aude LangloisAude Langlois is a French composer, sound designer and sound artist based in Berlin for the last decade. She is a graduate of “Sound Studies” at the University of Arts in Berlin and of “Music and Musicology” at Paris-Sorbonne. You can hear her work in films, documentaries and music releases. With electronic hardware, field recordings, and self-made recordings of her voice and acoustic instruments, she creates sound textures with depths. Her interests lay in the connection of memory, technical crafting and the materiality of sound. She also performs improvised live shows within the duet EKHEO together with Belinda Sykora, exploring the relationship of the human voice, voice modulation, AI and ethics on a sonic level. Furthermore, they create sound for theatre and performances across France, Germany and Austria.

*This is an episode from the first three seasons of Studies in Taylor Swift, which ran from 2021-22. Although the entire podcast is no longer available, selected episodes will be regularly reissued.*Clio and Meredith discuss sound studies and what it can tell us about the work of Taylor Swift. Studies in Taylor Swift is produced and edited by Clio Doyle. Cover art is by Finley Doyle. Music is by Audionautix. You can send questions or comments to studiesintaylorswift@gmail.com.

What does it mean to “read” an audiobook? What happens when we think about the audiobook pedagogically? Featuring a round-table conversation with graduate students at Concordia University and an interview with Dr. Jentery Sayers from the University of Victoria, this episode by Dr. Michelle Levy and SFU graduate student Maya Schwartz thinks through what it means to invite audiobooks into the literary classroom.Works CitedBaron, Naomi S. How We Read Now: Strategic Choices for Print, Screen, and Audio. Oxford University Press, 2021, https://academic-oup-com.proxy.lib.sfu.ca/book/41098.Carrigan, Mark. “An audible university? The emerging role of podcasts, audiobooks and text to speech technology in research should be taken seriously.” The London School of Economics and Political Science, 2021, https://blogs.lse.ac.uk/impactofsocialsciences/2021/12/17/an-audible-university-the-emerging-role-of-podcasts-audiobooks-and-text-to-speech-technology-in-research-should-be-taken-seriously/.Harrison, K. C. “Talking books, Toni Morrison, and the Transformation of Narrative Authority.” Audiobooks, Literature, and Sound Studies, edited by Matthew Rubery, Taylor and Francis Group, 2011, p. 143.Sarah Kozloff, “Audio Books in a Visual Culture.” Journal of American Culture, vo. 18, no. 4, 1995, pp. 83–95, 92.Morrison, Toni. The Bluest Eye. Holt, Rinehart, and Winston, 1970.Pergadia, Samantha. “Finding Your ‘Voice': Author-Read Audiobooks.” Public Books, 2023, https://www.publicbooks.org/finding-your-voice-author-read-audiobooks/.Rubery, Matthew. “Introduction: Talking Books.” Audiobooks, Literature, and Sound Studies, edited by Matthew Rubery, Taylor and Francis Group, 2011.–––. The Untold Story of the Talking Book. Harvard University Press, 2016.Tennyson, Alfred. “The Charge of the Light Brigade.” 1890, https://www.cabinetmagazine.org/kiosk/cabinet_kiosk_16_march_2021_rubery_matthew_audio_002.mp3.

Nine research projects studying the Long Island Sound have received funding from Connecticut and New York agencies. New York housing advocates are confused over a recent comment from the governor. Connecticut-based Pratt and Whitney announced a new multi-billion dollar deal. And get to know the U.S. Treasurer and Chief of the Mohegan Tribe, Lynn Malerba.

What is sound design? This is the question Miranda Eastwood, current Sound Designer of The SpokenWeb Podcast, is looking to find out. Exploring soundscapes of all shapes and forms, Miranda draws from interviews with friends, colleagues, and academics, as well as Caroline Levine's Forms: Whole, Rhythm, Hierarchy, Network to tackle this particularly tangled question. From sonic literature to audio walks, podcasting to music, this episode is a deep dive into what it means to “sound out” any and all audio texts, and the affective power afforded to sound as a medium of art and communication. Show NotesJames Healey's music: https://thejupitermachine.bandcamp.com/album/soulless-daysKaitlyn Staveley's music: https://www.youtube.com/@theradiokaityshow1481 Works CitedBijker, W. E. and Law, J. 1992. ‘General Introduction', in W. E. Bijker and J. Law (eds.), Shaping Technology/Building Society. Cambridge, Mass.: MIT Press.Brinkmann, M. (2018) The 'audio walk' as a format of experiential walking, Phenomenological research in education. Available at: https://paed.ophen.org/2018/06/25/gehen-spazieren-flanieren-das-format-audiowalk-als-erfahrungsgang/Cardiff, J. and Miller, G.B. (no date) Walks, Janet Cardiff & George Bures Miller. Available at: https://cardiffmiller.com/walks/Grint, K. and Woolgar, S. 1997. The Machine At Work. Cambridge: Polity.Hutchby, Ian. “Technologies, Texts and Affordances.” Sociology, vol. 35, no. 2, 2001, pp. 441–56. JSTOR, http://www.jstor.org/stable/42856294. Accessed 13 Dec. 2022.Kellough, Kaie, et al. “‘Small Stones': A Work in Poetry, Sound, Music and Typography.” “Small Stones”: a Work in Poetry, Sound, Music and Typography - SpokenWeb Archive of the Present, https://archiveofthepresent.spokenweb.ca/small-stones-a-work-in-poetry-sound-music-and-typography/.Levine, Caroline. Forms: Whole, Rhythm, Hierarchy, Network. Princeton University Press, 2015.McLeod, Katherine, host. “The Voice That Is The Poem, ft. Kaie Kellough.” The SpokenWeb Podcast, ShortCuts, Season 3, Episode 5.Mills, Mara. Novak, David, and Matt Sakakeeny, editors. Keywords in Sound. Duke University Press, 2015. “deafness” p.45-54.Ricci, Stephanie. The Making of "Small Stones" (2021) SpokenWeb Archive of the Present. SpokenWeb.

The word 'reading' may appear to describe something specific and universal, but in reality it's more of an umbrella term, covering a huge range of ways in which people interact with text. Dyslexia and hyperlexia may be two of the more obvious departures from normative ideas of reading, but whether we're neurodivergent or not we all read in different ways that can vary significantly depending on what we're reading and why we're reading it. Matthew Sweet is joined by Matt Rubery, Louise Creechan and poets Debris Stevenson and Anthony Anaxagorou. Matt Rubery, Professor of Modern Literature at Queen Mary, University of London has worked on books including The Untold Story of the Talking Book; Audiobooks, Literature, and Sound Studies, Further Reading and Reader's Block: A History of Reading Differences. You can hear more from him in an episode about the history of publishing called Whose Book is it Anyway? https://www.bbc.co.uk/programmes/b080xzm6 Dr Louise Creechan is studying is a Lecturer in Literary Medical Humanities at Durham University and a New Generation Thinker on the scheme run by the BBC and the Arts and Humanities Research Council to showcase academic research. You can hear her discuss Dickens' Bleak House in an episode called Teaching and Inspiration https://www.bbc.co.uk/programmes/m00169jh Debris Stevenson describes herself as 'Dyslexic educator, Grime-poet and Dancehall raving social activist'. Anthony Anaxagorou's latest collection of poetry is Heritage Aesthetics, published on 3rd November 2022. Free Thinking has a playlist featuring discussions about prose and poetry https://www.bbc.co.uk/programmes/p047v6vh The theme of this year's National Poetry Day is the Environment and you can hear Radio 3's weekly curation of readings and music inspired by that topic on Sunday at 5.30pm and then on BBC Sounds for 28 days https://www.bbc.co.uk/programmes/b006x35f Producer: Torquil MacLeod.

Meredith returns to the podcast to discuss Taylor Swift's private jet usage in relation to  Ernst Kantorowicz's The King's Two Bodies and parasocial relationships. We discuss a list of the most frequently flown private jets belonging to celebrities released by Yard based on data from the Twitter account CelebrityJets (in the episode, Clio wrongly states that CelebrityJets compiled the list). We also discuss upcoming release Midnights! Meredith has a PhD in Comparative Literature and works at a writing center. If you like cats, etymology, or both, find her on Instagram at @caedmon_the_catman.If you want to hear more from Meredith on this podcast, check out "Taylor Swift and Sound Studies" and "Taylor Swift and Folklore" from Season 1 and "Taylor Swift and the Page" from Season 2.Get in touch with comments, questions, or just to say hi at studiesintaylorswift@gmail.com.Music: "Happy Strummin" by Audionautix. Cover art by Finley Doyle. See more of Finley's work at https://tangelofin.wordpress.com/.

Holger Schulze ist Professor für Musikwissenschaft in Kopenhagen, vor allem aber ist er Klangforscher. Er möchte dazu beitragen, dass wir die Geräusche unseres Alltags bewusster wahrnehmen.

This is a mixed format episode presenting SpokenWeb members Mathieu Aubin and Stéphanie Ricci's critical commentary after taking part in the organization of and attending the Listening, Sound, Agency Symposium. Bridging techniques from journalism and oral history, this episode includes sounds from the conference, interviews, and critically reflective discussions between Mathieu and Stéphanie. This episode was produced by Mathieu Aubin and Stéphanie Ricci, with audio engineering by Scott Girouard.This episode explores the Symposium from the perspective of a first-time conference attendee coupled with a veteran attendee; these join the voices of multiple conference participants. Mathieu and Stéphanie focus on the process of organizing, holding, and listening to the 2021 SpokenWeb Symposium, and they discuss its themes of listening, sound, and agency as they emerge through the presentations and discussions. The episode begins with the theme of listening ethically and intentionally, before diving into a discussion of issues surrounding sound politics. It concludes with the topic of agency in relation to the amplification of sound as a potential means of empowerment. A special thanks to the 2021 Listening, Sound, Agency organizing committee, especially Jason Camlot, Klara DuPLessis, Deanna Fong, Katherine McLeod, Angus Tarnawsky, and Salena Wiener, whose voices are featured at the beginning of the episode.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Episode Producers:Mathieu Aubin is a Research Affiliate at Concordia University and Principal Investigator of the SSHRC IDG project “Listening Queerly Across Generational Divides.” He is also a Research Associate at Higher Education Strategy Associates where he provides advice to postsecondary institutions on how to improve equity in higher education across Canada.Stéphanie Ricci is an undergraduate student completing a journalism major with a sociology minor at Concordia University. Passionate about storytelling in all forms, Stéphanie is a contributing writer for the Forbes Leadership section, and scriptwriter for The CEO Series radio show with Karl Moore. Stephanie has previously worked on SpokenWeb's online presence and outreach tactics as social media coordinator. Her past experiences also include working as an investigative reporter for the Institute for Investigative Journalism, volunteer copy editor for Her Campus Media, and production intern with CityNews Montreal.Audio Engineering:Scott Girouard is a Front-End Developer based in Toronto, Canada with a lifelong background in music and creative practice. Audio Credits:Kvelden Trapp from Blue Dot Sessions: https://app.sessions.blue/browse/track/94421Citations:Bergé, Carole. 1964. The Vancouver Report. FU Press.Brittingham Furlonge, Nicole. May 19, 2021. “‘New Ways to Make Us Listen': Exploring the Possibilities for Sonic Pedagogy.” Du Plessis, Klara. May 21, 2021. “From Poetry Reading to Performance Art: Agency of Deep Curation Practice.” McLeod, Dayna. May 18, 2021. “Queerly Circulating Sound and Affect in Intimate Karaoke, Live at Uterine Concert Hall. Robinson, Dylan. May 19, 2021. “Giving/Taking Notice.” Sun Eidsheim, Nina. May 20, 2021. “Re-writing Algorithms for Just Recognition: From Digital Aural Redlining to Accent Activism.”

It's not everyday that you hear about a brand new instrument. Today we're joined by Mike Butera, CEO of Artiphon. Artiphon is developing new types of musical instruments that can be played by anybody. Their first product launched in 2014 and set a record with Kickstarter as the best selling musical instrument ever on that platform. Mike tells us how he was inspired to start the company and how technology is lowering the barrier to music creation and growing an army of new artists. Mike founded Artiphon in Nashville, Tennessee in 2011. He holds a Ph.D. in Sound Studies from Virginia Tech, has toured the country as a multi-instrumentalist, taught as a professor of sociology, and consulted globally on consumer electronics. Today he joins us from Swan's Island, Maine. Find Artiphon at artiphon.com and on social media @artiphon .. Beatseeker has been selected by Feedspot as one of the Top Music Technology Podcasts on the web: https://blog.feedspot.com/music_technology_podcasts/ Learn more: beatseeker.fm Insta: @beatseekerpod Twitter: @beatseekerpod Facebook: facebook.com/beatseekerpod Patreon: https://www.patreon.com/beatseeker Beatseeker is sponsored by the Boombox Music League: boomboxsoftware.com

After a lifetime of playing music and a Ph.D. in Sound Studies, Mike Butera founded Artiphon to reinvent the musical instrument as a smart, connected device. Mike is intent on building a future where everyday creativity is augmented by technology. He thinks everyone can play music with the right tool, regardless of their training or skill. Beyond Artiphon, Mike likes to think and write about the social structures, phenomenologies, and possible futures of creative technologies. Learn more about Lyte.  Hosted on Acast. See acast.com/privacy for more information.

After a lifetime of playing music and a Ph.D. in Sound Studies, Mike Butera founded Artiphon to reinvent the musical instrument as a smart, connected device. Mike is intent on building a future where everyday creativity is augmented by technology. He thinks everyone can play music with the right tool, regardless of their training or skill. Beyond Artiphon, Mike likes to think and write about the social structures, phenomenologies, and possible futures of creative technologies. Learn more about Lyte. 

How has the reading series been transformed by the Covid pandemic and its accompanying technologies of virtual gatherings? In this episode, Jason Camlot - SpokenWeb Director and Professor of English at Concordia University - takes us on a reflective listening tour through recordings of the Words and Music Show as it has evolved through the pandemic since early 2020. The Words and Music Show has been organized by Ian Ferrier for two decades to bring performances of literature, art, and music to live audiences at the Casa del Popolo in Montreal. Jason assisted Ian with organizing after Covid sent the series online, and this episode takes us into the in-person and virtual sounds of the Show. In this episode, we listen to the journey of one reading series and its co-curator over the past two years. Join us in reflecting on how the pandemic has changed the ways we share and connect to each other through literature, art, and performance.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 Producer:Jason Camlot is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio. His recent critical works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), and the co-edited collections Unpacking the Personal Library: The Public and Private Life of Books (with Jeffrey Weingarten | Wilfrid Laurier, 2022), and CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod | McGill Queen's, 2019).  He is also the author of five collections of poetry, most recently, Vlarf (McGill Queen's, 2021).  Jason is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia University in Montreal. Words and Music Shows of the Pandemic Period:This episode contains sounds from most of the Words and Music Shows held between 29 March 2020, when it was forced to move online, through to the return to a “live” in person show at Café Resonance held on 24 October 2021. We are grateful to everyone whose words, music, movement, art, ideas, and voices contributed to this episode. This episode features the voices of many wonderful performers who have performed in pandemic period online Words and Music Shows, including Alexei Perry Cox, Ali Barillaro, Angela Szczepaniak, Cole Mash, Fabrice Koffy, Faith Paré, Ian Ferrier, Jason Selman, Jay Alexander Brown, John Sweet, Judee Burr, Katherine McLeod, Kenny Smilovich, Klara Du Plessis, Mike O'Driscoll, Nicholas Beauchesne, Nisha Coleman, Rachel McCrum, Roen Higgins, and Tawhida Tanya Evanson. Many other voices and sounds from the online shows are integrated into short audio-collage portraits of the events that can be heard in the episode.  A full list of the shows and performers that inspired the episode is as follows:22 March 2020, Ian Ferrier posted this announcement about the upcoming Words and Music Show:Tonight's show is not canceled, only postponed. We are collecting tracks from all the performers who were scheduled to present, and preparing the way to present them live in this group sometime this upcoming weekStay tuned and stay safe!Ian Ferrier29 March 2020Brian Bartlett, Lune très belle (Frédérique Roy. Eugénie Jobin), Alexei Perry-Cox. Nisha Coleman, Sava (Dina Cindrić, Sarah Albu, Antonia Branković, Sara Rousseau).19 April 2020Liz Howard, Liana Cusmano, Ian Ferrier, Lauren DeRoller, Mary St-Amand Williamson.17 May 2020Maureen Hynes, Cassidy McFadzean, John Arthur Sweet
, Eryn Dace Trudell, Louise Campbell.21 June 2020Moe Clark, Taqralik Partridge, Cara Lessard Cole, David Bateman, Jay Alexander Brown, Angela Hibbs.23 August 2020Silvervest, Faith Paré, Cole Mash, Ali Barillaro, S.B. Goncarova.20 September 2020Rachel McCrum and Jonathan Lamy, Robin Durnford, Greg Santos, PC Vandall.18 October 2020John Arthur Sweet, Carolyn Marie Souaid, Erin Scott, Fortner Anderson and the Growler Chorus, and the winners of the Lawnchair Soirée videopoem contest.15 November 2020 (“Live” from Sala Rossa)Fabrice Koffy, Faith Paré, Jason (Blackbird) Selman.13 December 2020Roen Higgins, Naomi Steinberg, Klara du Plessis, Angela Szczepaniak,Tatiana Koroleva.21 February 2021Roen Higgins, Fabrice Koffy, Faith Paré, Jason Selman.21 March 2021Tawhida Tanya Evanson, Emilie Zoey Baker, Raymond Jackson, Marie-France Jacques, Francis Caprani, Kelsey Nichole Brooks, Ramela Arax Koumrouya18 April 2021Sarah Wolfson, Geronimo Inutiq, Louise Belcourt, David Bateman, Marie-Josée Tremblay, Ian Ferrier.23 May 2021 (The SpokenWeb Show)Oana Avasilichioaei, Klara du Plessis, Ian Ferrier, Shannon Maguire, Cole Mash, Jason Camlot, Kenny Smilovitch, Kevin McNeilly, Erin Scott, Katherine McLeod, Michael O'Driscoll, Ali Barillaro, and other special guests.1 August 2021RC Weslowski, April Ford, Natasha Perry-Fagant, Poet Riley Palanca, Nathanael Larochette (of Musk Ox).22 Aug 2021Jerome Ramcharitar, Marc-Alexandre Chan, Samara Garfinkle, Shawn Thicke, Tracy Yeung, Hosted by Guest Curator Avleen K Mokha, with backup from Ian Ferrier and Jason Camlot.19 September 2021Rachel McCrum, Jay Alexander Brown, John "Triangles" Stuart, John Arthur Sweet, For Body and Light.24 October 2021 (Back in Person at Resonance Café)Silvervest (Nicolas Caloia, Kim Zombik), Jason Camlot, Dark Sky Preserve (Ian Ferrier and Louise Campbell), John Stuart.

AN AUDIO ESSAY & SOUND WALK ON THE CELEBRATORY PROTESTS THAT TOOK PLACE AT OCEAN PARK BEACH IN SANTURCE, PUERTO RICO ON JANUARY 29TH, 2022. FEATURING INTERVIEWS AND SOUNDS WITH: CAMILA ALEXANDRA @CAMILAALEXZANDRA MACE FERRER @MA_CERAMICA CRITONIA @CRITONIA_ B11 @YOSOYB11 SERGIO BERNIER @SERGIOBERNIER DJ SZ @GERALDDJSZ --- Send in a voice message: https://anchor.fm/lamemeyoung/message Support this podcast: https://anchor.fm/lamemeyoung/support

Warum Klänge situativ verstanden werden müssen, wie sich die deutsche und die internationale Entwicklung der Sound Studies zu einander verhalten, warum Sound Studies eine non-discipline sind und ihre Zukunft dekolonial ist: Ania Mauruschat im Gespräch mit Holger Schulze, Professor für Sound Studies an der Universität Kopenhagen sowie Gründer und Leiter des Sound Studies Lab.

Prof. Mack Hagood, author of Hush: Media and Sonic Self Control and producer of Phantom Power, joins Dario to discuss sound studies and scholarly podcasting. Phantom Power is a benchmark academic podcast in terms of acoustic form and scholarly depth. Its focus is on the sonic arts and humanities and the show utilises all the myriad affordances of sound to explore scholarship and sound art. Mack and Dario unpack the joys and labors of academic podcasting, discussing the production process and the relationship between theory and practice which leads to discussion of Mack's chapter "The Scholarly Podcast: Form and Function in Audio Academia" recently published in Saving New Sounds: Podcast Preservation and Historiography edited by Jeremy Wade Morris and Eric Hoyt. A transcript of this episode is available here. Mack Hagood is an Associate Professor of Comparative Media Studies at Miami University, Ohio, where he studies digital media, sound technologies, disability, and popular music. Mack has published work on tinnitus, the use of noise-canceling headphones in air travel, the noise of fans in NFL football stadiums, indie rock in Taiwan, the ontology of Foley and digital film sound, and the forms and functions of scholarly podcasts. Show Notes: Lori and Dario discuss Professor Steffan Garrero's 'experiment' in gaming the Apple Podcast Charts. These episodes of Phantom Power are mentioned in particular: Test Subjects with Mara Mills For Some Odd Reason with Kate Carr R. Murray Schafer: Part 1 and Part 2 Emotional Rescue Mack mentions David Hendy's radio series Noise: A Human History which he uses as a text in his sound studies class. Mack also mentions Jennifer Stoever's book The Sonic Color Line: Race and the Cultural Politics of Listening. Contact Us: Email: podcaststudiespodcast@gmail.com Twitter: @podstudiespod Send us a voice message: anchor.fm/podcaststudiespodcast/message --- Send in a voice message: https://anchor.fm/podcaststudiespodcast/message

big shout outs to Morbid Fest, the city of Albuquerque, the Carlsbad Caverns, and the Sandia Peak Mountain Tram staff. --- Send in a voice message: https://anchor.fm/lamemeyoung/message Support this podcast: https://anchor.fm/lamemeyoung/support

Colonialism reconfigured the world economy around the extraction of natural resources and the exploitation of humans to provide the labor for that extraction. A by-product was profound change to how people made, heard, and paid for music. In this episode we talk about what sound has to do with the Anthropocene, explore how profits from the slave trade had a direct impact on European musical life in the eighteenth century, and immerse ourselves in the soundscape, full of colliding cultural experiences, of a Jamaican dance hall at the turn of the 19th century.We begin by grappling with the Anthropocene, the era of human-caused climate change. There are solid arguments that it was sparked by European colonialism. Together we explain how empire, as early as 1600 CE, contributed to a “Little Ice Age,” before industrialization--and the intensive use of fossil fuels such as peat, wood, coal, steam, and petrochemicals--set temperatures rising again.Individual people paid the price. To find out more we look at the origins of the “triangular trade” of wind-borne commerce between Africa, the Americas, and Europe. We then turn to some pretty famous names from the history of Western Art Music, to discover the impact of the lucrative profits of this commerce, in particular the trafficking of enslaved people from Africa, had on their careers.Hearing the names of Handel, Mozart, and Haydn in association with the murderous trade in enslaved people may come as a shock, so we take some time to understand music-makers and consumers as actors in music history, unpacking connections between high art and the global economy of the early Anthropocene. Or to put it more bluntly, between “then and them,” and “now and us.”Our next stop is early nineteenth-century Jamaica. We take a look (and a listen) to that island's fraught colonial history, by “entering” Abraham James's painting, “A Grand Jamaica Ball,” moving from its two dimensions to an imaginary sonic three. Pictures don't make noise, it's true, but if you take time with them, they can reveal a lot about the human experience of sound. We'll be doing this frequently in the podcast: looking across times and places for unexpected sonic clues about how people lived their lives. Especially in the pre-electrical era paintings, sculpture, prose, and other objects are key materials in our sonic-historic workshop. Key PointsGlobal history took a new turn around 1500 with the beginning of Western colonial expansion and the rise of a new global economy based on resource extraction and long-distance trade. This new turn had a direct and measurable impact on Earth's environment: many historians now place the beginning of the Anthropocene (the era of human-made climate change) around 1600.One fundamental impact of Western expansion and empire included the large-scale eradication of Indigenous people through disease and violence. Another was the enslavement of Africans and their transport to the Americas, a process marked by unspeakable mass violence. Both catastrophes changed global soundworlds in many ways.Historical honesty compels us to recognize that heroes of Western Art Music such as Haydn, Handel and Mozart were all connected to the new global economy. None of them could have had the careers they did without money from patrons whose money came from trade in resources like sugar, which in turn depended on enslavement and the exploitation of human suffering.ResourcesGary Tomlinson's ground-breaking work on the deep history of music includes A Million Years of Music: The Emergence of Human Modernity.Simon L. Lewis and Mark A. Maslin's exploration of the long history of human impacts on climate, which includes their take on the “Orbis spike”: The Human Planet: How We Created the AnthropoceneDavid Hunter's discussion of evidence of Handel's investments in the slave economy, on Will Robin's Sound Expertise PodcastFor cutting-edge musicological work on sound, music history, and the Anthropocene, check out @prof_ajchung on TwitterAll of the books mentioned in the episode can be found in our Sounding History Goodreads discussion group. Join the conversation!

Clio and Meredith discuss the figure of the page in Taylor Swift's work with reference to Bonnie Mak's How the Page Matters. They also discuss internet rankings of Taylor's songs: Rolling Stone's "The 500 Greatest Songs of All Time" (https://www.rollingstone.com/music/music-lists/best-songs-of-all-time-1224767) and "All 199 of Taylor Swift's Songs, Ranked" (https://www.rollingstone.com/music/music-lists/taylor-swift-songs-ranked-rob-sheffield-201800) and Vulture's "All 179 Taylor Swift Songs, Ranked" (https://www.vulture.com/article/all-taylor-swift-songs-ranked-from-worst-to-best.html). Meredith has a PhD in Comparative Literature and works at a writing center. If you like cats, etymology, or both, find her on Instagram at @caedmon_the_catman.If you want to hear more from Meredith on this podcast, check out "Taylor Swift and Sound Studies" and "Taylor Swift and Folklore" from Season 1.Get in touch with comments, questions, or just to say hi at studiesintaylorswift@gmail.com and check out the podcast website at https://cliodoyle.wixsite.com/studiesintaylorswift.  Music: "Happy Strummin" by Audionautix. Cover art by Finley Doyle. See more of Finley's work at https://tangelofin.wordpress.com/.

'I think art needs to get on the street, because raising awareness in a gallery is really speaking to the choir. I'll leave raising awareness, because we both agree that the time for that has passed, but I think art needs to revert back to artisan and crafts, in the sense that imagination can lead to crafting things that we will actually need for survival. I think that - and again, this is my radical rant - I think that one of the reasons why we're seeing these unprecedented amounts of anxiety and even this new term 'climate anxiety' that we have, which is almost probably about to be defined as a kind of mental health condition, is because we are so profoundly disconnected from our own means of existence.'Dr. Milena Droumeva, November 3, 2021, VancouverMy conversation with acoustic ecology colleague Dr. Milena Droumeva on November 3, 2021 in Vancouver about multiple points of ‘listening', thoughts about radicality, that imagination can lead to crafting things that we will actually need for survival and how to address profound disconnections.  Note: There is a slight flame rumble in the background but the voice is clear :-)  Milena Droumeva is an Associate Professor and Glenfraser Endowed Professor in Sound Studies at Simon Fraser University specializing in mobile media, sound studies, gender, and sensory ethnography. They have worked extensively in educational research on game-based learning and computational literacy, formerly as a post-doctoral fellow at the Institute for Research on Digital Learning at York University. Milena has a background in acoustic ecology and works across the fields of urban soundscape research, sonification for public engagement, as well as gender and sound in video games. Current research projects include sound ethnographies of the city (livable soundscapes), mobile curation, critical soundmapping, and sensory ethnography. Check out Milena's Story Map, "Soundscapes of Productivity" about coffee shop soundscapes as the office ambience of the creative economy freelance workers and the Livable Soundscapes project. Fireplace where we recorded this episode on November 3, 2021 in Vancouver *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Getting into the what, how, who, where, and why of that massive sample dump I took last week on Patreon. To get full access to the sample pack and the online class community, sign up at lamemeyoung.com --- Send in a voice message: https://anchor.fm/lamemeyoung/message Support this podcast: https://anchor.fm/lamemeyoung/support

We would love to hear your reactions and ideas to our stories. If you appreciate the podcast, leave us a rating and a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Trailer Producers:Judith Burr & Hannah McGregorClips Featured:KPFA recording of Robert Hogg reading at Berkeley Poetry Conference, 1965, from S2E10 “Robert Hogg and the Widening Circle of Return”Mavis Gallant, SFU, 1984, from S2E9 “Mavis Gallant Part 2: The Paratexts of ‘Grippes and Poche' at SFU”Mathieu Aubin, in S2E2 “Lesbian Liberation Across Media: A Sonic Screening”“Listen to Black Womxn”, by jamilah malika, and Katherine McLeod in S2E8 “Talking about Talking”Penn Kemp, from S2E3 “Sounds of Trance Formation: An Interview with Penn Kemp”Wisdom Agorde, from S2E4 “Drum Codes Pt 1: The Language of Talking Drums”Klara du Plessis, from S2E1 “Deep Curation: Experimenting with the Poetry Reading as Practice”Stacey Copeland, from S2E5 “Cylinder Talks - Pedagogy in Literary Sound Studies”Treena Chambers, from S2E7 “Listening Ethically to the SpokenWeb”Music: “Slapstick” by Moon Juice from Blue Dot Sessions

A sound map and personal analysis of lower San Juan harbor as told from a monohull. --- Send in a voice message: https://anchor.fm/lamemeyoung/message Support this podcast: https://anchor.fm/lamemeyoung/support

Shintaro Miyazaki, Juniorprofessor für digitale Medien und Computation an der Humboldt-Universität zu Berlin, berichtet im Gespräch über Sonifikation als diagnostische Praxis in der frühen Computergeschichte, das Klangwissen von Computeringenieuren, Kritische Psychologie, Wegbereiter der zeitgenössischen Sound Studies und die notwendige Politisierung der Klangforschung.

Sabine Sanio studierte Germanistik und Romanistik und promovierte über das interdisziplinäre Thema „Alternativen zur Werkästhetik“ bei dem Schriftsteller Helmut Heißenbüttel und dem Komponisten John Cage. Seit 2007 unterrichtet sie Sound Studies an der Universität der Künste (UdK) in Berlin. Im Gespräch mit Ania Mauruschat erklärt Sanio, wieso die künstlerischen Avantgardisten seit Erik Satie für sie Vorläufer und Wegbereiter der Cultural Studies und Sound Studies sind, und warum sie sehr vorsichtig damit ist, künstlerische Forschung zu definieren. Sie ist jedoch davon überzeugt: Die künstlerischen Avantgardebewegungen und ihre künstlerische Erforschung nicht zuletzt des Alltags sind nach wie vor ein wichtiger Kern der Sound Studies, und das wird auch so bleiben, zumal wenn sich unser Verständnis vom genialen Künstler weiter ändert und heute jede:r ein:e Künstler:in sein kann.

First in a series of hopefully many. Originally written for Soundfly, July 2019. --- Send in a voice message: https://anchor.fm/lamemeyoung/message Support this podcast: https://anchor.fm/lamemeyoung/support

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned for Season 3 this Fall!Episode Producer:Jason Camlot (SpokenWeb Director) is Professor in the Department of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal. His critical works include Phonopoetics (Stanford 2019), Style and the Nineteenth-Century British Critic (2008), and the co-edited collections, CanLit Across Media (2019) and Language Acts (2007). He is also the author of five collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, What the World Said, and Vlarf. 

InterMetzo Georg Metz har kaldt denne uges kommentar ”Det udbrændte spørgsmål”. Tænkepause med lyd og ro Hvad er lyd egentlig, og hvad gør den ved os? Skal vi forsøge at dæmpe den lyd vi kalder støj, eller skal vi lære at åbne ørerne for omverdenens lyde? Bodil Grue har mødt de to lydforskere ved Center for Sound Studies, Aarhus Universitet,. Omkring H.C. Andersen Vi er på besøg...

Wie haben sich die Sound Studies als transdisziplinäres Forschungsfeld entwickelt? Wie ist das Verhältnis von Sound Studies und Musikwissenschaft? Wie wird Klang von verschiedenen (Musik-)Kulturen konzipiert? Welche Entwicklungen und Perspektiven können wir in Zukunft von diesem Forschungsfeld erwarten? Lorenz Gilli spricht mit Jens Gerrit Papenburg, seit April 2019 Professor für Musikwissenschaft/Sound Studies an der Universität Bonn.

Gibt es Ontologien des Sounds? Wie sinnvoll ist es, zwischen Sound Studies und Auditiven Medienkulturen zu unterscheiden? Wie steht es um die Zukunft der Sound Studies in Deutschland? Ania Mauruschat spricht mit einer der Gründungsfiguren der deutschsprachigen Sound Studies, mit Rolf Großmann von der Leuphana Universität Lüneburg.

Wir stellen uns vor! Ania Mauruschat, Kiron Patka, Anna Schürmer und Lorenz Gilli podcasten hier in den nächsten Wochen zu Sound Studies und sprechen mit altgedienten und mit jungen Professor*innen aus dem Bereich Auditiver Medienkultur.

In episode 7, Clio and guest Meredith Ringel-Ensley discuss sound studies in relation to "Our Song." What is the difference between sound and song? What is a soundscape? And what does any of this have to do with the Eucharist? Meredith has a PhD in Comparative Literature and works at a writing center. If you like cats, etymology, or both, find her on Instagram at @caedmon_the_catman. Get in touch with comments, questions, or just to say hi at studiesintaylorswift@gmail.com. Music: "Happy Strummin" by Audionautix. Cover art by Finley Doyle. The podcast is on hiatus until June 17, at which point episodes will once again come out weekly.  I am working on a podcast for the National Humanities Center called "What is the future of AI in the humanities?" If you're interested, please check out their website and keep an eye out for the podcast in July. It has nothing to do with Taylor Swift... or does it? (It doesn't.)

Hanna Brühwiler ist eine Sound Design Studentin in Graz und schreibt derzeit an ihrer Masterarbeit zum Thema dynamisch binauraler Echtzeitabhöre an Opernhäusern. Sie begeistert vor allem die Klangverteilung im dreidimensionalen Raum und hat hierbei bei der letzten „Europe's Forth Student 3D Audio Production Competition“ in der Kategorie „Soundscapes“ Bronze gewonnen. Zuletzt lief eine mehrkanalige Klanginstallation von ihr im Botanischen Garten in Graz. Freundlicherweise hat Hanna das binaurale Intro zum Tongestalten Podcast designed.

Together we listen back to select "Cylinder Talk" sound production assignments created by Concordia graduate students, and unpack the experiences, ideas and discussions that the production and study of sound can incite across disciplines. A 3-minute audio project assigned to students in Jason's most recent graduate seminar - Literary Listening as Cultural Technique - the Cylinder Talk draws on a history of early spoken sound recordings, inviting us into an embodied sonic engagement with literature studies.The episode features sound work by Alexandra Sweny, Sara Adams, Aubrey Grant and Andrew Whiteman.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Jason Camlot (SpokenWeb director) is Professor in the Department of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal. His critical works include Phonopoetics (Stanford 2019), Style and the Nineteenth-Century British Critic (2008), and the co-edited collections, CanLit Across Media (2019) and Language Acts (2007). He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said.Stacey Copeland  is a media producer and Communication Ph.D. candidate at Simon Fraser University in Vancouver, Canada. She received her MA from the Ryerson York joint Communication and Culture program and a BA in Media Production from Ryerson University. She is currently the podcast project manager for The Spokenweb Podcast and the supervising producer of Amplify Podcast Network. website: http://staceycopeland.com/Cylinder Talks Featured:Alexandra Sweny,  “Ethics of Field Recording in Irv Teibel's Environments Series”Sound Clips:  Original recordings of Montreal by Alexandra Sweny.Sara Adams,  “Henry Mayhew and Victorian London”Sound Clips: “Victorian Street.” British Library, Sounds, Sound Effects. Collection: Period Backgrounds.  Editor, Benet Bergonzi.  Published, 1994.Aubrey Grant,  “Poe's Impossible Sound”Sound Clips: Lucier, Alvin. I Am Sitting in a Room, Lovely Music Ltd., 1981.Andrew Whiteman,  “Bronze lance heads”Sound Clips:“Robert Duncan Lecture on Ezra Pound” March 26, 1976, U of San Diego; accessed from Penn Sound Robert Duncan's author page. (https://writing.upenn.edu/pennsound/x/Duncan.php)“Ezra Pound recites Canto 1” 1959; accessed from Penn Sound Ezra Pound's author page (https://writing.upenn.edu/pennsound/x/Pound.php)—“The Sound of Pound: A Listener's Guide” by Richard Siebruth, interview with Al Filreis May 22, 2007. (https://writing.upenn.edu/pennsound/x/Pound.php)Sampled 1940s film music; date and origin unknown.Original music; composed by Andrew Whiteman, Dec 2020.References:Eidsheim, Nina Sun.  The Race of Sound: Listening, Timbre and Vocality in African Music. Duke UP, 2019.Feaster, Patrick. “'The Following Record': Making Sense of Phonographic Performance, 1877-1908.” PhD Dissertation.  Indiana University, 2007.Hoffman, J. “Soundscape explorer: From snow to shrimps, everything is a sound to Bernie Krause.” Nature, vol. 485, no. 7398, 2012, p. 308, doi:10.1038/485308a.Kittler, Friedrich. Grammophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford University Press, 1999.Krause, Bernie. The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places. Little Brown, 2012.Peter Miller, “Prosody, Media, and the Poetry of Edgar Allan Poe,” PMLA 135.2 (March 2020): 315-328.Mayhew, Henry. London Labour and the London Poor, 1851.Picker, John.  Victorian Soundscapes.  Oxford University Press, 2003.Poe, Edgar Allen. “The Bells”, Complete Poems and Selected Essays, ed. Richard Gray, Everyman Press, 1993, pp. 81-84.Robinson, Dylan.  Hungry Listening: Resonant Theory for Indigenous Sound Studies. University of Minnesota Press, 2020.Schafer, R. Murray. The Soundscape: Our Sonic Environment and the Tuning of the World. Inner Traditions/Bear and Co., 1993.Siegert, Bernhard. Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Rea. Trans. Geoffrey Winthrop-Young.  Fordham UP, 2015.Stoever, Jennifer Lynn. The Sonic Color Line: Race and the Cultural Politics of Listening.  New York University Press, 2016.Teibel, Irv. Environments 1: Psychologically Ultimate Seashore. LP Record. Syntonic Research Inc., 1969.World Soundscape Project - Sonic Research Studio - Simon Fraser University. https://www.sfu.ca/sonic-studio/worldsoundscaperoject.html. Accessed 31 Jan. 2021.Additional Sound Clips:Camlot, Jason.  Ambient Music for “Cylinder Talks”.“A Christmas Carol in Prose (Charles Dickens: Scrooge's awakening )(w Carol Singers [male quartet]).” Bransby Williams, performer. Edison 13353, 1905."Big Ben clock tower of Westminster - striking half past 10, quarter to 11, and 11 o'clock" (Westminster, London, England). July 16, 1890. Recorded by: Miss Ferguson and Graham Hope, (for George Gouraud). Edison brown wax cylinder (unissued). NPS object catalog number: EDIS 39839.bpayri. “crowd chattering students university loud”, Freesound, 2015.Humanoide9000. “Glacier break”, Freesound, 2017.“Micawber (from ‘David Copperfield').” William Sterling Battis, performer. Victor 35556 B, 12”disc, 1916.New, David, director. R. Murray Schafer: Listen, National Film Board of Canada, 2009.sbyandiji. “short alarm bell in school hall”, Freesound, 2014.Spliffy. “Hallway of University in silence”, Freesound, 2015.“Svengali Mesmerizes Trilby.” Herbert Beerbohm Tree, performer. Gramophone Concert Record, 10” Black Label Disc, GC 1313, 1906.“The Transformation Scene From Dr. Jekyll and Mr. Hyde.” Len Spencer, performer. Columbia matrix, [1904] 1908.Udall, Lyn. “Just One Girl.” Popular Songs of Other Days, 2012/1898.Westerkamp, Hildegard. “Kits Beach Soundwalk.” Transformations, Empreintes DIGITALes, IMED 1031, Enregistrements i Média (SOPROQ), 1989/2010. https://electrocd.com/en/piste/imed_1031-1.3.

In this episode, I speak with Milena Droumeva, professor in Sound Studies at Simon Fraser University, about how our relationship with sound is shaped by culture, the audio in audio/visual media literacy and the role technology plays in mediating our acoustic environments.R. Murray Schafer, The Canadian Encyclopedia, https://www.thecanadianencyclopedia.ca/en/article/r-murray-schafer-emc World Soundscape Project, Simon Fraser University - https://www.thecanadianencyclopedia.ca/en/article/r-murray-schafer-emc World Soundscape Project Archive, Toronto Niennial of Art - https://www.thecanadianencyclopedia.ca/en/article/r-murray-schafer-emc About Simond Fraser University's Music and Sound programs - https://www.sfu.ca/sca/programs/music---sound.html Professor Barry Truax - https://www.sfu.ca/~truax/ Sound Ecology: A web documentary on noise pollution and our inability to endure silence, National Film Board of Canada - https://www.nfb.ca/interactive/sound_ecology/ Bringing Sound into Urban Public Place Design, McGill, Urban Sound Symposium - https://urban-sound-symposium.org/USS2019/slides/305_Christine_Kerrigan.pdf Listening as Intervention; Livable Soundscapes, Milena Droumeva - https://www.sfu.ca/sonic-studio/currentprojects.html The media literacy movement's debt to Marshall McLuhan - Alexandar Kuskis, University of Toronto - https://www.researchgate.net/publication/298794462_The_media_literacy_movement%27s_debt_to_Marshall_McLuhan About Foley (Filmmaking) - https://en.wikipedia.org/wiki/Foley_(filmmaking) Foley artist shows how sounds effects are made - youtube/E0pOLuklB4sHow to add sound to TikTok videos - Get Savvy with Social - https://getsavvywithsocial.com/how-to-add-sound-to-tiktok-videos/ Buzzfeed Listicles on sound - https://www.buzzfeed.com/briangalindo/photos-you-can-here-just-by-looking-at-them The Social Dilemma, IMDB - https://www.imdb.com/title/tt11464826/ Sound memes - https://www.memesoundboard.com The Social Dilemma, Milena Droumeva - Sounding out Sexism in Video Games -kjnhttps://www.ted.com/talks/milena_droumeva_sounding_out_sexism_in_video_games?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare New Wireless Noise-Canceling Tech Is Faster Than the Speed of Sound - https://spectrum.ieee.org/tech-talk/consumer-electronics/audiovideo/noisecanceling-techs-edge-is-faster-than-the-speed-of-sound Headphone transparency mode on AirPods, Bose, Sony and more: How and when to use it, CNET - https://www.cnet.com/how-to/headphone-transparency-mode-on-airpods-bose-sony-and-more-how-and-when-to-use-it/ The COVIDvoice Project Share your voice. Crush COVID. - https://covidvoice.net What is lithotripsy?, Hopkins Medicine - https://www.hopkinsmedicine.org/health/treatment-tests-and-therapies/lithotripsy #MeToo Sonification Excerpts, Milena Droumeva - https://soundcloud.com/ambient-sonic/sets/metoo-sonification-excerpts Sounding Out Blog - https://soundstudiesblog.com Radio Aporee - sound archives https://aporee.org/

Alejandro Mosso シーンに登場した頃は複数の名義を使いこなしていたが2000年後半ごろから本人名義Alejandro Mossoの名で活動し始める。AIR LONDON やLOMIDHIGH ORGNICなど他複数のレーベルからリリースしながら自身のレーベル”MOSSO”を始動させる。 今回公開している音源は2020年7/31にスイス、ローザンヌにある Folklor CLUBで収録されたLive音源です An Argentinian who's musical forte has been bred in Berlin, Alejandro Mosso has been at the forefront of developing innovative percussive, organic and delicate electronic music for more than 15 years. As a worldwide touring artist, he has performed his captivating live sets across South America, North America, Europe, Africa and Asia. The Berliner is also a dedicated and prolific producer, releasing forward thinking projects that span the genre spectrum since 2003. With his particular brand of uniquely musical club music, Alejandro challenges the understanding of what dance music could be. Throughout the years, he has developed a distinctive sound palette – a perfect balance between electronic and acoustic sounds, sitting at the intersection of deep house, minimal techno, tribal, and melodic dance music. Constantly defying the lethargic ‘dj tool' concept, Mosso strives to produce immersive musical experiences, unapologetically pouring emotions, melodies, and harmonies into the traditionally rhythm-dominated genre. Throughout the years, world renowned labels like Cocoon, Third Ear, !K7, Hivern Discs, Sushitech, Sol Selectas and more have welcomed the Mosso sound to their catalogues. In 2017, he released his album “Isolation Diaries”, a first class listen that presented remixes from two of the most interesting and influential electronic music producers of the last decades: Burnt Friedmann and Ricardo Villalobos. The Argentinian also runs his own label “mosso”, focused on releasing untarnished material with a sense of character and individualism present in each release. Mosso's live show is the quintessential presentation of his artistic career. Over the years, he has perfected the art of moving dancefloors with nightly innovation and a full command of intricate rhythms. Swaying between percussive tribal beats, 4×4 house grooves, and melodic emotional layers, Alejandro Mosso has performed at clubs such as Watergate, Rex Club, Fabric, Womb, Tresor, Amnesia, and Kater Blau. He has also headlined festivals such as the Spanish and Argentinian editions of the esteemed Mutek. 2020 finds Alejandro with a busy release schedule, contributing with original material and high profiles remixes to the catalogs of labels like Do Not Sit, Akbal Music, Sirin and When We Dip's XYZ. As a masters student of Sound Studies and Sonic Arts, Alejandro continues to expand his artistic practice into the worlds of sound installation art and 3D audio. MGMT & BOOKINGS: guthrie@dipartist.management beatport / https://www.beatport.com/artist/alejandro-mosso/92836 bandcomp / https://alejandromosso.bandcamp.com soundcloud / https://soundcloud.com/alejandro-mosso instagram / https://www.instagram.com/alejandromossomusic/

IHR! macht Text- und Klangperformances. IHR! möchte erzählen und zum Zuhören anstiften. IHR! verbindet zeitgenössische Textarbeit mit Klanginstallation. Die Autorinnen Nora Zapf und Theresa Seraphin und die Musikerin Marie-Kristin Burger experimentieren an den Schnittstellen von Lyrik und Performance, Musik und Noise. Marie-Kristin Burger ist Musikerin und Musik- und Tanzpädagogin aus Salzburg. Als Flötistin ihrer Band AREIA setzt sie sich mit Jazz und Improvisations-Konzepten auseinander. Aber auch Elemente der Weltmusik, ein vielfältiges Schlagwerk-Instrumentarium, Live Electronics und Sound Studies inspirieren ihre Improvisationen, Kompositionen und pädagogischen Tätigkeiten. Sie arbeitet in Kooperation mit musikalischen Ensembles, Tänzer*innen sowie Theaterproduktionen und vielem mehr. Theresa Seraphin studierte Dramaturgie, Kunstgeschichte und Komparatistik in München und Seoul. Sie ist Mitbegründerin des Netzwerks Münchner Theatertexter*innen. Ihre Theatertexte (z.B. die Lecture-Performance Münchner Zelle für europäische Utopie) entstehen v.a. im Rahmen von freien Theaterproduktionen. Sie ist Studentin des Studiengangs “Kuratieren in den Szenischen Künsten” und arbeitet seit 2018 als Dramaturgin und Assistentin der künstlerischen Leitung an der ARGEkultur in Salzburg. Sie lebt in München und Salzburg. Nora Zapf ist Lyrikerin und Übersetzerin aus dem Spanischen und Portugiesischen und ist wissenschaftliche Mitarbeiterin an der Universität Innsbruck. Zusammen mit Katrin Lange Herausgeberin des Bandes Screenshots. Literatur im Netz bei text + kritik 2020. Sie ist Organisatorin der Reihe “meine drei lyrischen ichs”, der Biennale “Großer Tag der Jungen Münchner Literatur” sowie Mitorganisatorin in der Reihe “Wir machen das”, die geflüchteten Künstler*innen eine Bühne gibt. Lyrikbände: rost und kaffeesatz, 2018, homogloben, 2018.

Taucht mit uns ab in die Welt der städtischen Sound Art! Welche Sounds nehmen wir akustisch wahr, wenn wir uns im öffentlichen Raum bewegen und was können wir vielleicht nicht hören, obwohl es uns umgibt? Diese und weitere spannende Fragen werden in dieser Folge von uns mit Unterstützung von der Künstlerin Frau Kubisch und der Dozentin Prof. Dr. Sabine Sanio, für Sound Studies, beantwortet. Also Kopfhörer auf, Sound an und genießt mit uns die einzigartigen Klänge der Stadt.

Lisa Benischek kommt aus dem wirtschaftlichen Bereich und hat Marketing & Sales in Wien studiert. Sie hat mehrere Jahre in internationalen Werbeagenturen als Projektmanagerin und Kundenberaterin gearbeitet bevor sie die Liebe zum Stricken zu ihrem Beruf gemacht hat. Belinda Sykora kommt aus dem kreativen Bereich, hat Schauspiel in Wien studiert und danach ihren Master an der Universität der Künste in ‚Sound Studies' in Berlin absolviert. Zum Stricken kam sie eher zufällig und liebt es seitdem neuen Trends nachzuspüren, ästhetische Designs, Kreativ-Konzepte und Social MediaStrategien zu entwickeln. In der heutigen Episode sprechen wir über:Linda und Lisa's Herkunft und ihre langjährige Freundschaftdarüber, wie es dazu kam dass sie einen Strickladen übernommen habenwas sie bei Knit Knit alles anbietenwie kinderleicht Stricken istüber die meditative Wirkung von Strickenwas sie seit ihrer Übernahme alles verändert habenüber ihre Vision und über ihre Missionüber ihr Business by Intuitionüber das Umsatzverhältnis Shop / E-Commerceüber ihre Nebenjobsüber die größte ungeahnte Herausforderung seit Übernahmeüber ihre schönsten Erfolgsmomenteund vieles Spannende mehr.Es lohnt sich reinzuhören.Hier geht's zu den ShownotesWOMEN IN FASHION MENTORINGMöchtest auch Du mit Deinen vorhandenen Potenzialen, Fähigkeiten und Kenntnissen Deine unverwechselbare Marke im Fashion- und Lifestyle-Segment aufbauen? Ich helfe Dir gerne bei der Gründung Deiner eigenen Marke, und biete Dir meine Erfahrungen, meine Plattform, und den Zugang zu meinem exklusiven Netzwerk.TRIFF JETZT DEINE ENTSCHEIDUNG und vereinbare Dein kostenfreies Vorgespräch mit mir. Vielen Dank für Deine Treue!Herzlichst,Sibel Brozatwww.womeninfashion.dewww.linkedin.com/womeninfashion.dewww.instagram.com/womeninfashion.dewww.facebook.com/womeninfashion.deTelegram Gruppenchat

Aude Langlois ist Expertin in Musik, Aufnahme und Audio-Technik. Durch ihren Master in Sound Studies hat sie ihr professionelles Leben komplett neu gestaltet. Sie macht viele Projekte im Verbindung mit Sound, und sie arbeitet nebenberuflich bei Sennheiser. Sie arbeitet auch für Fimdrehs, macht experimentelle Musik im Duo EKHEO, und nimmt sich selbst auf - macht Klanggestaltung in verschiedensten Umgebungen.Ihr neuester Erfolg ist die Erscheinung ihrer self-released EP, und damit verbunden auch die Veröffentlichung ihrer beiden Musikvideos.Aude: "Was mir wichtig ist, ist die Stimme klingen zu lassen. Andere Stimmen, die nicht besonders gehört werden, in den Vordergrund zu stellen. Meine Masterthesis ging um Gender, Stimme und Technik - und ist immer zentral in allen meine verschiedenen Projekten. Sie ist das, was alles zusammenhält. Ich habe persönliche Widerstände überwunden, und meine Motivation beibehalten."In dieser Episode sprechen wir im Soho House auf dem Rooftop über:Aude's verschiedene Projekte mit Ton und Musikwie sie als Newcomerin ganz alleine ihr Debütalbum released hatüber ihre Kreativprozessedarüber, was Berlin kreativ bei ihr bewirkt hatüber Intimität, Angst, Perfektion, und den Vergleich mit Profiswarum sie ihre Freunde bei ihrem Projekt unterstützenüber ihre Visionenwas sie antreibtihre Vorbilder ihre größte Herausforderung: Die Bepreisung ihrer Arbeit.und vieles mehr.Es lohnt sich reinzuhören.Hier geht's zu den ShownotesWOMEN IN FASHION MENTORINGMöchtest auch Du mit Deinen vorhandenen Potenzialen, Fähigkeiten und Kenntnissen Deine unverwechselbare Marke im Fashion- und Lifestyle-Segment aufbauen? Ich helfe Dir gerne bei der Gründung Deiner eigenen Marke, und biete Dir meine Erfahrungen, meine Plattform, und den Zugang zu meinem exklusiven Netzwerk.TRIFF JETZT DEINE ENTSCHEIDUNG und vereinbare Dein kostenfreies Vorgespräch mit mir. Vielen Dank für Deine Treue!Herzlichst,Sibel Brozatwww.womeninfashion.dewww.linkedin.com/womeninfashion.dewww.instagram.com/womeninfashion.dewww.facebook.com/womeninfashion.deTelegram Gruppenchat 

This episode - The Season Two Premiere of The SpokenWeb Podcast - chronicles different phases in the evolution of Deep Curation as a poetry reading curation practice, from its earlier iterations with Klara merely choosing the poems read by the authors and the order of their presentation, to its more robust form, with excerpted and intertwined works creating a thematic, cohesive arc. Poets featured from Deep Curation archival audio, include Lee Ann Brown, Margaret Christakos, Kaie Kellough, Sawako Nakayasu, Deanna Radford, and Erin Robinsong.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:Klara du Plessis is a third year PhD student in English at Concordia University and one of the governing board student representatives of the SpokenWeb research team. She experiments with a new practice of literary event organization called a Deep Curation, navigating the texts presented and their strategic, thematic arc. Klara's debut collection of multilingual long poems, Ekke, won the 2019 Pat Lowther Memorial Award, was shortlisted for the Gerald Lampert Memorial Award, and garnered much critical acclaim. Her second book-length narrative poem, Hell Light Flesh, is freshly released, September 2020 from Palimpsest Press.Jason Camlot's recent works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill-Queen's UP, 2019), and the article, “The First Phonogramic Poem: Conceptions of Genre and Media Format, circa 1888” in the open access journal, BRANCH: Britain, Representation and Nineteenth-Century History (February 2020). He is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio.  He is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia U in Montreal.Voices Heard:Lee Ann Brown, Margaret Christakos, Isis Giraldo, Kaie Kellough, Kate Lilley, Sawako Nakayasu, Deanna Radford, Erin RobinsongPrint References:Bernstein, Charles. ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du Réel, 2009.Brown, Lee Ann. In the Laurels, Caught. Albany: Fence Books, 2013.Christakos, Margaret. charger. Vancouver: TalonBooks, 2020.du Plessis, Klara. “Santa Cova Muscles.” Unpublished.Kellough, Kaie. Magnetic Equator. Toronto: Penguin Random House, 2019.Longair, Sarah. “Cultures of Curating: the Limits of Authority.” Museum History Journal 8.1 (2015): 1-7.Middleton, Peter. “How to Read a Reading of a Written Poem.” Oral Tradition 20.1 (March 2005): 7-34. Web. 25 December 2016.Nakayasu, Sawako. Texture Notes. Seattle: Letter Machine Editions, 2010.Obrist, Hans Ulrich and Asad Raza. Ways of Curating. New York: Faber and Faber, 2014.Radford, Deanna. Poems. Unpublished.Robinsong, Erin. Rag Cosmology. Toronto: Book*Hug, 2017.Rogoff, Irit. “Curating/Curatorial.” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 19-38.Vidokle, Anton. “Art without Artists?” Ed. Beatrice von Bismarck, Jörn Schafaff, and Thomas Weski. Cultures of the Curatorial. Berlin: Sternberg Press, 2012. 216-226.Wheeler, Lesley. Voicing American Poetry: Sound and Performance from the 1920s to the Present. Ithaca: Cornell University Press, 2008.Poetry Recordings:Deep Curation 4th Space. Feat. Margaret Christakos, Kaie Kellough, Deanna Radford. 7 November 2019. Personal archive.Deep Curation Boston University. Feat. Lee Ann Brown, Fanny Howe, Sawako Nakayasu. 30 January 2020. Personal archive.Deep Curation Mile End Poets' Festival. Feat. Aaron Boothby, Klara du Plessis, Canisia Lubrin, Erin Robinsong. 24 November 2018. Personal archive.Sir George Williams Reading Series. Feat. Jackson Mac Low. 26 March 1971. https://montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1Four Horsemen. Two Nights. 9 and 10 October 1987. http://writing.upenn.edu/pennsound/x/4-Horsemen.phpAmbient Sounds:Cmusounddesign. “02 Museum.” 03:02. 29 November 2009. Attribution License. https://freesound.org/people/cmusounddesign/sounds/84529/Ecfik. “Museum Ambiences.” 01:16. 2 August 2019. Creative Commons 0 License. https://freesound.org/people/ecfike/sounds/478349/Pastabra. “Lounge tea party: Ambience.” 03:21. 31 October 2016. Attribution License. https://freesound.org/people/Pastabra/sounds/366194/Wilhelmsqueek. “Cutting_Croissant_ST.” 00:20. 9 June 2016. Creative Commons 0 License. https://freesound.org/people/wilhelmsqueek/sounds/347384/Music:“Manny in Sound” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.“Turning to You” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License.Tuned Down and Slowed “Turning to you” by Blue Dot Sessions (www.sessions.blue). Attribution Noncommercial License. Manipulations by Jason Camlot 

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Trailer Producers:Hannah McGregor & Stacey CopelandClips Featured:S1E2 - Sound Recordings are Weird.S1E3 - Invisible LabourS1E4 - The Agony and Ecstasy of Elizabeth SmartS1E8 - How Are We Listening Now?Music - Palms Down - Blue Dot Sessions

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned for Season 2 this Fall!Episode Producers:Sadie Barker is a PhD student at Concordia, working at the intersections of aesthetic and affect theory, sound and decolonial studies. She holds an MA in Cultural Studies. She is increasingly interested in the affordances of podcasting to mediate interdisciplinary spaces.  Emma Telaro is an MA student at Concordia in the department of English, and a RA for SpokenWeb. She is interested in the disruptive potential of sound and of silence in the literary. This is her first official podcast. Ali Barillaro is an MA student in English at Concordia University and a SpokenWeb RA interested in both the study of comics in the social media age and the sounds of audience response in the context of poetry readings. Jason Camlot's most recent critical works are Phonopoetics: The Making of Early Literary Recordings (Stanford 2019),  and the co-edited collection, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill Queen's UP, 2019). He is the principal investigator and director of The SpokenWeb and Professor of English and Research Chair in Literature and Sound Studies at Concordia University in Montreal.Bibliography:Bender, John and David E. Wellbery, "Rhetoricality: On the Modernist Return of Rhetoric." The Ends of Rhetoric: History, Theory, Practice. Ed. Bender and Wellbery. Stanford, CA: Stanford University Press, 1990.Copeland, Stacey.  "A Feminist Materialisation of Amplified Voice: Queering Identity and Affect in The Heart." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  209-225. Llinares, Dario. "Podcasting as Liminal Praxis: Aural Mediation, Sound Writing and Identity." Podcasting: New Oral Cultures and Digital Media.  Ed. Dario Llinares, Neil Fox, Richard Berry.  Palgrave MacMillan, 2018.  123-145.Rapp, Christof, "Aristotle's Rhetoric", The Stanford Encyclopedia of Philosophy (Spring 2010 Edition), Edward N. Zalta (ed.), URL = .Sterne, Jonathan.  "The Theology of Sound: A Critique of Orality," CanadianJournal of Communication 36.2 (2011): 207-225.Ong, Walter J.: Orality and Literacy--The Technologizing of the Word (1982). Routledge, New York, 1988.Find a list of Ambient Sounds, Music and Additional Recordings used in this episode  Linked Here. 

Prøv at lytte til dine omgivelser. Luk øjnene og identificer lydene; en fugl der kvidrer udenfor, kolleger der samtaler ude på gangen, en kollega der åbner en kuvert, bestik der bliver lagt på et bord. Du får en fornemmelse af aktivitet. Og du får en fornemmelse af, hvilke omgivelser du befinder dig i; hvordan bygningen er indrettet, og hvad der foregår i den hvornår - måske endda hvordan. Det gælder på hospitaler, ikke mindst på intensivafdelinger. Og det gælder i syriske fængsler. Lyd er en vigtig komponent i vores erkendelse af verden, af vores omgivelser, men vi er sjældent lige så bevidste om lydene, som om det vi ser. Selvom det er nemmere at lukke øjnene end at lukke ørerne. Supertanker hører efter i denne udgave og følger det, vi hører, ind i vores erkendelse af verden. Medvirkende: Linette Thorn, intensiv sygeplejerske, medudvikler af Meningsfulde Øjeblikke, Aarhus Universitetshospital, Skejby. Marie Koldkjær Højlund, musiker, adjunkt i Sound Studies på Aarhus Universitet. Carsten Ortmann, tilrettelægger og vært.

Each month on alternate fortnights (that's every second week following the monthly spokenweb podcast episode) - join Hannah McGregor, and minisode host and curator Katherine McLeod for SpokenWeb's Audio of Month mini series.An extension of Katherine's audio-of-the-week series at spokenweb.ca, Katherine brings her favorite audio each month to the spokenweb podcast - so if you love what you hear, make sure to head over to spokenweb.ca for more.Listen to Mathieu Aubin's Audio of the Week featuring an audio clip of bill bissett on CKVU-TV September 1978 here along with links to recordings and works mentioned in this minisode: https://spokenweb.ca/bill-bissett-on-ckvu-tv-september-1978/Produced by: Katherine McLeod, Mathieu Aubin, Hannah McGregor, Stacey Copeland.

Shana L. Redmond is a native of Racine, Wisconsin and the daughter of working-class parents, whose experiences of service work and incarceration profoundly impacted her political and racial identity. It is from these experiences and knowledges that she approaches her scholarship and activist work, which are both concerned with laying bare and challenging the material conditions that encode and enforce difference and inequality. Labor, carceral regimes, and racial justice are some of her activist and scholarly interests. As a scholar, Redmond pulls from multiple subjects, strategies, and approaches in her work and situates her scholarship in and between fields including Black Studies, Performance Studies, History, Critical Ethnic Studies, Sound Studies, English and Literature, Cultural Studies, and (Ethno)Musicology. Her new book is an experimental cartography of the global polymath Paul Robeson and his repetition as vibration, hologram, and the built environment during and after his lifetime. Titled Everything Man: The Form and Function of Paul Robeson, the book forwards a theory of “antiphonal life” in order to announce his continuing influence and labors in the political life of artists, organizers, and intellectuals.

SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb visit: spokenweb.ca . If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers:Jason Camlot's critical works include Phonopoetics: The Making of Early Literary Recordings (Stanford 2019), Style and the Nineteenth-Century British Critic (Routledge 2008), and the co-edited collections, CanLit Across Media: Unarchiving the Literary Event (with Katherine McLeod, McGill-Queen's UP, 2019) and Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century (Véhicule 2007).  He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said. He is the principal investigator and director of The SpokenWeb. He is Professor of English and Tier I Concordia University Research Chair in Literature and Sound Studies at Concordia U in Montreal.Katherine McLeod researches Canadian literature through sound, performance, and archives. She has co-edited CanLit Across Media: Unarchiving the Literary Event (with Jason Camlot, McGill-Queen's UP, 2019). Currently, she is writing a monograph on archival recordings of women poets reading on CBC Radio. She began this research as a SSHRC-funded Postdoctoral Fellow (TransCanada Institute, U of Guelph) and then as a SpokenWeb Postdoctoral Fellow (Concordia). She received her doctorate from the University of Toronto. Katherine explores the intersection of dance and poetry in her own creative practice, along with curating SpokenWeb's Audio of the Week, the Audio of the Month for The SpokenWeb Podcast, and Where Poets Read, a listing of Montreal poetry readings. Interviewees and Voices Heard:Oana Avasilichioaei, Ali Barillaro, Sadie Barker, Arjun Basu, Naomi Charron, Alexei Perry Cox, Nisha Coleman, Klara du Plessis, Ian Ferrier , Priscilla Joly, Rob McLennan, Heather Pepper, Lindsay Presswell, Deanna Radford, Kian Vaziri-Tehrani, Brian Vass, Isabella Wang, Alvaro Echánove, Marlene OeffingerPrint ReferencesDolar, Mladen.  A Voice and Nothing More. Cambridge, MA: MIT Press, 2006.Labelle, Brandon.  "Auditory Relations."  In Background Noise: Perspectives on Sound Art.  New York: Continuum, ix-xvi.Peters, John Durham.  Speaking Into the Air: A History of the Idea of Communication. Chicago: University of Chicago Press, 1999Petriglieri, Gianpiero.  Twitter Post. April 3, 2020, 7:43 PM. https://twitter.com/gpetriglieri/status/1246221849018720256Rowling, J.K. Harry Potter and the Deathly Hallows.  London, UK: Bloomsbury, 2014.Schafer, R. Murray.  The Soundscape: Our Sonic Environment and the Tuning of the World.  Rochester, VT: Destiny Books, 1994."Sounds from the global Covid-19 lockdown." Cities and Memory. https://citiesandmemory.com/covid19-sounds/ Poetry RecordingsAntin, David.  "The Principle of Fit, II" (Part I). 26.:32. June 1980. Recording at the Folger Shakespeare Library, Washington D.C. PennSound. https://media.sas.upenn.edu/pennsound/authors/Antin/Antin-David_The-Principle-of-Fit-II-Side-A_DC_06-80.mp3Cox, Alexei Perry. Poems from Finding Places to Make Places. 42:39. The Words & Music Show, March 22, 2020. Coleman, Nisha. "The Church of Harvey Christ." 40:53. The Words & Music Show, March, 22 2020. Plath, Sylvia. "Daddy." Originally released on The Poet Speaks, Record 5, Argo, 1965. YouTube audio. 3:56. Posted December 29, 2006. https://www.youtube.com/watch?v=6hHjctqSBwM--Find a list of Ambient Sounds, Music and Additional Recordings used in this episode Linked Here. 

Note: Interested in the intersections of rhetoric and sound? The deadline for submissions to the 2020 Sound Studies, Rhetoric, and Writing Conference is Feb. 21! The CFP and submission instructions are available here. This episode features Michele Kennerly and Damien Smith Pfister, co-editors of the 2018 collection Ancient Rhetorics and Digital Networks. The interview, recorded at the 2018 Rhetoric Society of America conference, focuses on that collection. Kennerly and Pfister discuss the important distinction between "ancient" and "classical" rhetoric, the challenges and possibilities of linking ancient rhetorics to digital networks, and the rhetorical and civic power of internet memes. Michele Kennerly is Associate Professor of Communication Arts and Sciences and Classics and Ancient Mediterranean Studies at Penn State University. In addition to co-editing Ancient Rhetorics and Digital Networks, she is the author of Editorial Bodies: Perfection and Rejection in Ancient Rhetoric and Poetics and co-editor of Information Keywords, which is forthcoming this fall. She is President of the American Society for the History of Rhetoric and serves on the Council of the International Society for the History of Rhetoric. The interview also features Damien Smith Pfister. He is Associate Professor of Communication at the University of Maryland, co-editor of Ancient Rhetorics and Digital Networks, and author of the book Networked Media, Networked Rhetorics: Attention and Deliberation in the Early Blogosphere. His next book project is tentatively titled Always On: Fashioning Ethos After Wearable Computing, and he is the newly minted book review editor for the journal Rhetoric Society Quarterly. Along with past guest Casey Boyle, Kennerly and Pfister will be editing a new book series for the University of Alabama Press. Entitled Rhetoric + Digitality, the series will provide a home for the best work emerging at the intersection of rhetorical studies and digital media studies. This episode includes clips from the following: Gustav Holst’s “The Planets, Op. 32: IV. Jupiter, the Bringer of Jollity” "Cicada's orchestra" "Simonides Brings Down the House"

With presentations from Lucia Lorenzi, Milena Droumeva, Brady Marks, and Blake Nemec (moderated by Hannah McGregor) the panel explores how we understand sound, noise, voice, silence, and voiceless-ness when they intersect with gender, feminism, and the expected, mandated, or performative aspects of speech. Including a new interview with Dr. Milena Droumeva that reflects on her presentation, project and sonification, Episode 5: “Revisiting ‘Feminist Noise, Silence, and Refusal'” returns to the 2019 SpokenWeb Symposium as Kate invites us to listen toward a new decade of feminist sound politics.SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. To find out more about Spokenweb and our next Symposium in 2020, visit: spokenweb.ca. If you love us, let us know! Rate us and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada.Episode Producers: Kate Moffatt, Michelle LevyPodcast Project Manager: Stacey CopelandShow Host: Hannah McGregorResources: The program for the SpokenWeb Sound Institute 2019 can be found here (https://spokenweb.ca/wp-content/uploads/2018/12/Spokenweb-SSI-Program-2019.pdf) The program for the SpokenWeb Symposium 2019: Resonant Practices in Communities of Sound can be found here (https://spokenweb.ca/wp-content/uploads/2018/12/SpokenWeb-Symposium-2019-Programme.pdf).

Edit (08/07/2019): The CFP for the 2020 Sound Studies, Rhetoric, and Writing Conference is now live! Check it out here. --- Just in time for the 2019 Computers and Writing Conference, this Rhetoricity episode features . . . an audio recording of Eric Detweiler's 2016 Computers and Writing presentation. A majorly revised reiteration of this presentation came out last year in volume 5 of Textshop Experiments. In short, this episode/presentation makes the case for embracing weirder conventions in academic podcasting, drawing on the popular podcast Welcome to Night Vale as a model. Because the episode is a recording of a presentation, it's more monologic than the interview-centered episodes of this podcast. But it does come with circus music, sound effects, a parodic advertisement, traffic update, and weather report, so give it a listen if you're up for a slightly odd episode. Finally, this episode is also a chance to announce two other sound-related happenings in rhetoric and writing studies. First, the official launch of the new sonic projects section in enculturation: a journal of rhetoric, writing, and culture. The first two pieces in that section were just published as part of the journal's 28th issue. Second, the Sound Studies, Rhetoric, and Writing Conference in Detroit, Michigan. That conference will happen from October 1-3, 2020, and builds on last year's Symposium on Sound, Rhetoric, and Writing. The CFP should be available in the next week or two, and this blurb will be updated with a link to that CFP once it's ready. This episode uses the following sound clips: "8 Bit Circus Music" "Submarine Diving Sound" "Breaker-1" "The University of What It Is"

La storia è stata a lungo silente. Oggi, gli storici prendono sempre più in conto i sensi, e in particolare l’udito, nel loro studio del passato: storia culturale dei sensi in Francia, facendo seguito ad Alain Corbin, Sound Studies nei paesi anglosassoni. Questo nuovo campo della ricerca, multiforme, rinnova l’approccio delle società antiche interessandosi ai loro suoni, alle loro forme di ascolto, alla loro cultura sonora. Come studiare, da storico, i suoni del passato? Quali fonti possono darvi accesso? Cosa ci insegnano delle società di cui essi costituiscono il contesto sensibile? La serata, sull’iniziativa di Pauline Lafille, storica dell’arte borsista all’Accademia di Francia a Roma, riunisce due ricercatrici che hanno sviluppato una forma di studio sensoriale della storia.•••••••••••••••••••••••••••••••••••••••••••L’archeologia sonora: Dialogo con Mylène PardoenMylène Pardoen è archeologa sonora presso il CNRS e la Maison des Sciences de l’Homme de Lyon. Dopo avere intrapreso una carriera militare, ella si forma in storia e musicologia e impiega da diversi anni una pratica scientifica che associa scienze umane e nuove tecnologie, grazie alle quali ricrea i paesaggi sonori delle epoche passate (campi di battaglia, scene urbane, come nel progetto “Bretez” che restituisce i suoni della Parigi del XVIII secolo). Mylène Pardoen presenterà il suo percorso e alcune sue creazioni sonore, destinate ai musei della Città di Parigi (Carnavelet, tra gli altri) o a Versailles.•••••••••••••••••••••••••••••••••••••••••••Il Rinascimento sonoro: conferenza di Florence AlazardFlorence Alazard, docente all’università di Tours, studia i legami tra suono e potere nell’Italia del XV e XVI secolo. Mobilizzando una storia sonora delle emozioni politiche, ella si interessa alle culture della voce e dell’oralità, alle feste e alle pratiche musicali, agli usi della comunicazione politica, alla scrittura oralizzata nei lamenti pubblicati durante le guerre di Italia. La voce e la musica, pensate come armonia, sono le agenti e le metafore della vita politica del Rinascimento.

CLICK HERE TO DOWNLOAD: Bonus Track for Spanish Rap & Sound Studies Forum SUBSCRIBE TO THE SERIES VIA ITUNES ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST In “Asesina,” Darell opens the track shouting “Everybody go to the discotek,” a call for listeners to respond to the catchy beat and come dance. In this series on rap in […]

In this episode, you’ll hear excerpts from presentations on the NAVSA panel in which I participated as well as MIDIs of two nineteenth-century songs! Thanks to Miranda Butler for bringing us together to organize the panel, Kate Nesbit and Shannon Draucker for their amazing papers…

A discussion about auditory perception with Nick Young, Postdoctoral Researcher at the Centre for Philosophy of Time, University of Milan.Nick explains his claims that we do not, philosophically speaking, ever perceive what are commonly thought of as 'sounds' and also that we are capable of hearing empty spaces. His work is available here.Recorded by Chris Couch as part of the Autumn 2017 Sound Studies course.

ark books is proud to present a conversation on sensing, listening and sound, based on the new book from, University of Copenhagen professor of musicology and sound studies, Holger Schulze, The Sonic Persona: An Anthropology of Sound. In The Sonic Persona, Holger Schulze undertakes a critical study of some of the most influential studies in sound since the 19th century in the natural sciences, the engineering sciences, and in media theory, confronting them with contemporary artistic practices, with experimental critique, and with disturbing sonic experiences. From Hermann von Helmholtz to Miley Cyrus, from FLUXUS to the Arab Spring, from Wavefield Synthesis to otoacoustic emissions, from premillennial clubculture to postdemocratic authoritarianism, from signal processing to human echolocation: This book presents a fundamental critique concerning recent sound theories and their anthropological concepts – and proposes an alternate, a more plastic, a visceral framework for research in the field of a cultural anthropology of sounding and listening. This anthropology of sound takes its readers and listeners on a research expedition to the multitude of alien humanoids and their surprising sonic personae: in dynamic and generative tension between predetermined auditory dispositives, miniscule and not seldomly ignored sound practices, and idiosyncratic sensory corpuses: a critique of the senses. Holger Schulze (*1970) is full professor in musicology at the University of Copenhagen and principal investigator at the Sound Studies Lab. He serves as curator for the Haus der Kulturen der Welt Berlin and as founding editor of the book series Sound Studies. He is the author of a Theorie der Werkgenese, a generative theory of artefacts in three volumes: Das aleatorische Spiel (2000) − Heuristik (2005) − Intimität und Medialität (2012). He is associated investigator at the cluster of excellence Image Knowledge Gestaltung: an interdisciplinary laboratory at the Humboldt-Universität zu Berlin and founding member of the European Sound Studies Association. Since 2011 he is co-editor of the international journal for historical anthropology Paragrana, in 2008 he founded the international research network Sound in Media Culture, 2000-2009 he was a co-founder and the first head of department of the new MA-programme in Sound Studies at the Universität der Künste Berlin. He was invited visiting professor at the Musashino Art University in Tokyo, at the Humboldt-Universität zu Berlin, at the Leuphana Universität Lüneburg as well as lecturer at the Leopold-Franzens-Universität in Innsbruck. He writes for Texte zur Kunst, Seismograf, Merkur, Neue Zeitschrift für Musik, Positionen, Deutschlandradio Kultur, der freitag. The Sonic Persona is his first monograph in English.

The Age of Noise in Britain: Hearing Modernity (University of Illinois Press, 2017) by James G. Mansell brings forward the opportunity to hear modernity and examine how sound shaped the selves of Britons in an age of economic, social and political upheaval. Industrial and technological sounds created anxiety, especially for the middle classes; sound experts were engaged by the state to manage, manipulate, and contain sounds; individuals negotiated as best as they could their distance to what became an increasingly noisy world. Mansell argues that these acts of hearing - not always listening - elicited new ways if thinking about being modern. James G. Mansell is Assistant Professor of Cultural Studies in the Department of Culture, Film and Media at the University of Nottingham. James's research and teaching expertise are in cultural history, sensory studies, and sound studies. His research has focused on the cultural history of sound and hearing, sound media, and on histories of sonic modernity and modernism.New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network.

Iconic developments in the artistic and intellectual ethos known as Afrofuturism are closely linked to music: Sun Ra’s experimental jazz, Parliament Funkadelic’s Mothership, John Akomfrah’s film Last Angel of History. What else is on the soundtrack to a livable future? How do we pursue further innovation in the human sensorium without reproducing an “audiovisual litany” that conflates rationality with the colonial gaze and isolates Black creativity to moments of sonic disruption? andré carrington’s present research on the cultural politics of race in science fiction radio drama aims to expand the repertoire of literary adaptation studies by reintegrating critical perspectives from marginal and popular sectors of the media landscape into the advancing agendas of Afrofuturism and decolonization. andré carrington is a scholar of race, gender, and genre in Black and American cultural production. He is currently Assistant Professor of African American literature at Drexel University. His first book, Speculative Blackness: The Future of Race in Science Fiction (Minnesota, 2016) interrogates the cultural politics of race in the fantastic genres through studies of science fiction fanzines, comics, film and television, and other speculative fiction texts.

How often do you think about how you listen? What assumptions do you make about a person’s voice, their pitch or accent? What sound is desirable, and what’s rejected as noise? Prof. Jennifer Stoever thinks about these questions, a lot. And so do a growing number of scholars working in a field called Sound Studies. […] The post Podcast #132 – Sounding Out on the Cultural Politics of Sound & Listening appeared first on Radio Survivor.

How often do you think about how you listen? What assumptions do you make about a person’s voice, their pitch or accent? What sound is desirable, and what’s rejected as noise? Prof. Jennifer Stoever thinks about these questions, a lot. And so do a growing number of scholars working in a field called Sound Studies. […] The post Podcast #132 – Sounding Out on the Cultural Politics of Sound & Listening appeared first on Radio Survivor.

Sonic Rupture: A Practice-led Approach to Urban Soundscape Design(Bloomsbury 2016) by Jordan Lacey offers a practice-led alternative approach to urban soundscape design. Rather than understanding the functional noises of the city as solely problematic or unaesthetic annoyances to be eliminated, Lacey instead suggests ways in which they can be creatively harnessed to give new expression to urban life. Featuring expansive theoretical discussions and detailed analysis of Lacey’s own work as a sound artist, the book proposes the 5 element sonic rupture model as a way to diversify our experiences of city life.New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network.

Sonic Rupture: A Practice-led Approach to Urban Soundscape Design (Bloomsbury 2016) by Jordan Lacey offers a practice-led alternative approach to urban soundscape design. Rather than understanding the functional noises of the city as solely problematic or unaesthetic annoyances to be eliminated, Lacey instead suggests ways in which they can be creatively harnessed to give new expression to urban life. Featuring expansive theoretical discussions and detailed analysis of Lacey’s own work as a sound artist, the book proposes the 5 element sonic rupture model as a way to diversify our experiences of city life. New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sonic Rupture: A Practice-led Approach to Urban Soundscape Design (Bloomsbury 2016) by Jordan Lacey offers a practice-led alternative approach to urban soundscape design. Rather than understanding the functional noises of the city as solely problematic or unaesthetic annoyances to be eliminated, Lacey instead suggests ways in which they can be creatively harnessed to give new expression to urban life. Featuring expansive theoretical discussions and detailed analysis of Lacey’s own work as a sound artist, the book proposes the 5 element sonic rupture model as a way to diversify our experiences of city life. New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sonic Rupture: A Practice-led Approach to Urban Soundscape Design (Bloomsbury 2016) by Jordan Lacey offers a practice-led alternative approach to urban soundscape design. Rather than understanding the functional noises of the city as solely problematic or unaesthetic annoyances to be eliminated, Lacey instead suggests ways in which they can be creatively harnessed to give new expression to urban life. Featuring expansive theoretical discussions and detailed analysis of Lacey’s own work as a sound artist, the book proposes the 5 element sonic rupture model as a way to diversify our experiences of city life. New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sonic Rupture: A Practice-led Approach to Urban Soundscape Design (Bloomsbury 2016) by Jordan Lacey offers a practice-led alternative approach to urban soundscape design. Rather than understanding the functional noises of the city as solely problematic or unaesthetic annoyances to be eliminated, Lacey instead suggests ways in which they can be creatively harnessed to give new expression to urban life. Featuring expansive theoretical discussions and detailed analysis of Lacey’s own work as a sound artist, the book proposes the 5 element sonic rupture model as a way to diversify our experiences of city life. New Books in Sound Studies is a collaboration between the Centre for Media Data and Society at the Central European University in Budapest, Hungary and the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Professor Neil Verma joins me to discuss his essay series, “The Case for Audio Drama”. He’s a professor of Sound Studies at Northwestern University, and a longtime scholar of audio drama. We discuss the history of the form, and areas of his particular interest: radio drama from the 30s through the 50s. But we don’t just talk about old stuff! Professor Verma is as excited as I am about the audio fiction being produced today.Join us as we connect the styles and conventions of the vibrant old stuff to the vibrant new stuff!Prof. Verma’s writing:Arts of Amnesia: The Case for Audio Drama, Part One:http://ro.uow.edu.au/rdr/vol3/iss1/5/Arts of Amnesia: The Case for Audio Drama, Part Two:http://ro.uow.edu.au/rdr/vol3/iss1/6/https://www.amazon.com/Theater-Mind-Imagination-Aesthetics-American/dp/0226853519/ref=sr11?ie=UTF8&qid=1496896536&sr=8-1&keywords=neil+verma

Segundo capítulo de "Humanidad Canibal", con una entrevista extensa a Jose Ramón Marcaida, investigador en el CRASSH de Cambridge, y autor del excelente libro "Arte y Ciencia en el Barroco Español", ganador del Premio Internacional Alfonso E. Pérez Sánchez. Pero hay más, mucho más. Otra sesión de Resonancias, donde Sonsoles nos hablará de los Sound Studies y un comentario sobre los artículos publicados en El País sobre el fin de las humanidades. Y buena música: porque nos gusta bailar.

This April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0”–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo. Today Salomé Voegelin, treats us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in […]

Beyond what people say, what their voices sound like matters. Voice, as Ana Marcia Ochoa Gautier argues in this marvelous new book Aurality: Listening and Knowledge in Nineteenth Century Colombia(Duke University Press, 2014), was embedded in 19th-century conversations and debates about the boundaries between nature and culture, between the civilized and barbaric, between inclusion or marginalization in a public civic sphere. Set in Colombia but relevant for much of Latin America and the Caribbean, the book draws on brilliant interpretations of the sonorous written archive to take up questions of sound, inscription and the epistemological and ontological status of voice. The book will prompt new formulations in both Sound Studies and Latin American Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Beyond what people say, what their voices sound like matters. Voice, as Ana Marcia Ochoa Gautier argues in this marvelous new book Aurality: Listening and Knowledge in Nineteenth Century Colombia(Duke University Press, 2014), was embedded in 19th-century conversations and debates about the boundaries between nature and culture, between the civilized and barbaric, between inclusion or marginalization in a public civic sphere. Set in Colombia but relevant for much of Latin America and the Caribbean, the book draws on brilliant interpretations of the sonorous written archive to take up questions of sound, inscription and the epistemological and ontological status of voice. The book will prompt new formulations in both Sound Studies and Latin American Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Beyond what people say, what their voices sound like matters. Voice, as Ana Marcia Ochoa Gautier argues in this marvelous new book Aurality: Listening and Knowledge in Nineteenth Century Colombia(Duke University Press, 2014), was embedded in 19th-century conversations and debates about the boundaries between nature and culture, between the civilized and barbaric, between inclusion or marginalization in a public civic sphere. Set in Colombia but relevant for much of Latin America and the Caribbean, the book draws on brilliant interpretations of the sonorous written archive to take up questions of sound, inscription and the epistemological and ontological status of voice. The book will prompt new formulations in both Sound Studies and Latin American Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Beyond what people say, what their voices sound like matters. Voice, as Ana Marcia Ochoa Gautier argues in this marvelous new book Aurality: Listening and Knowledge in Nineteenth Century Colombia(Duke University Press, 2014), was embedded in 19th-century conversations and debates about the boundaries between nature and culture, between the civilized and barbaric, between inclusion or marginalization in a public civic sphere. Set in Colombia but relevant for much of Latin America and the Caribbean, the book draws on brilliant interpretations of the sonorous written archive to take up questions of sound, inscription and the epistemological and ontological status of voice. The book will prompt new formulations in both Sound Studies and Latin American Studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Montage and recording Benjamin Schoos. Thanks to Bureau B , Valérie and Pierre for their precious help. Karl Bartos is well-known as one-quarter of the "classic" Kraftwerk line-up. Many of their most influential rhythms and memorable melodies were actually conceived in his home studio. They would later be used on an unstoppable succession of hits from the Düsseldorf band as they ascended to the lofty heights of popular music culture. As a major contributor to "The Man-Machine" (1978) and "Computer World" (1981) Bartos has had a decisive influence on Kraftwerk's music. Rolling Stone author Mike Rubin says of this years: "there's something timeless and universal about their songwriting of this period." The Kraftwerk team went on to achieve worldwide success and cult status: in 1982 "The Model" became a UK number 1. The track has become a classic in the history of music, along with "The Robots", "Metropolis", "Neon Lights", "Numbers", "Pocket Calculator", "Home Computer", "Tour de France", "Musique Non Stop" and "The Telephone Call". Kraftwerk have been one of the most sampled artists of all time, and there have been countless cover versions of their songs. Almost all of the group's best-known tracks date back to the "classic" line-up. In 2012 Kraftwerk performed a retrospective of this repertoire in the Museum of Modern Art, New York. Karl Bartos left the band in 1990. Subsequently he became an independent producer and writer – for his project Electric Music, as a solo artist, and also together with fellow friends and musicians – Bernard Sumner (New Order), Johnny Marr (The Smiths) and Andy McCluskey (OMD). In 2004 he co-founded the Master of Arts course "Sound Studies – Acoustic Communication" at the Berlin University of the Arts (UdK), where he was a visiting professor, teaching Auditory Media Design up until 2009. "OFF THE RECORD" – THE NEW ALBUM Karl Bartos' new album is an audio-visual sensation! Lost for many years, some of his early music has been reconceived and re-contextualised in a thrilling modern setting. Here's the story: during Kraftwerk's heyday Karl Bartos wrote – off the record – a secret acoustic diary. Based on his musical jottings – rhythms, riffs, hooks, sounds, chords and melodies – this is what he has come up with today: twelve brand new, exciting, timeless songs.