Samuel K. Adesubokan, Julie Funk, Faith Ryan, and Jentery Sayers | University of Victoria | Department of English | Praxis Studio for Comparative Media Studies |
2021 SpokenWeb Symposium: “Listening, Sound, Agency”
19 May 2021, 11am Eastern
Plenary Panel: “Teaching with Sound / Sound and Pedagogy”
Research motivated by “Readers Are Listening,” a Fall 2020 graduate seminar at UVic
How to move beyond, or expand, established modes of listening to media and literature? Such established modes include Chion’s causal, semantic, and reduced listening, for example.
Outline of a listening prompt (designed by the UVic SpokenWeb team):
Primary source: Alice Wong’s 2017 performance of Laura Hershey’s 1991 poem, “You Get Proud by Practicing,” that Wong recorded for the Disability Visibility Project on Soundcloud.
What are the styles and techniques being deployed by the performer? How do these styles and techniques amplify the political and aesthetic significance of the work? How is time utilized in interesting ways in this performance? How do the sounds and/or editing practices diverge from sonic normativity and to what effects?
Listen to Alice Wong’s 2017 performance of Laura Hershey’s “You Get Proud by Practicing” at least twice.
Primary source: Peter Adedokun ensemble’s talking drum performance. The audio recording is from a YouTube video of Adedokun’s performance, which aired on a local television station in Nigeria.
What is the sonic lexicon of the talking drum? What roles do rhythm and tone play in the talking drum performance? In what ways is the talking drum performance like oral storytelling? How do proprioceptive responses to the performance understand the human body as audile (an object of mediation)? What are the rules of translation from speech to its musical form?
Listening to this kind of work may not produce repeatable, stable experiences. Repeated listening is encouraged. In the context of storytelling, since the talking drum can mimic speech, the following may be observed (in no particular order) during each listening iteration:
Primary source: Gertrude Stein, “From The Making of Americans.” The Speech Lab Recordings, recorded on January 30, 1935 at Columbia University, collection edited by Chris Mustazza, PennSound.
What is at stake in listening “like” a machine? Is this form of listening a sort of co-production of analysis with the medium/media itself? How might this literary machine listening technique itself influence which elements of the audio you attune to?
Listen four times to any one of the eight fragments of Gertrude Stein’s 1935 reading of The Making of Americans. Record your thoughts and observations at each step.
Thank you.