[{"id":"10055","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Events AV, Sounding Signs and Broadcasting Temporalities and Sounding Together, SpokenWeb Symposium 2022: The Sound of Literature in Time, 16 May 2022"],"item_title_source":["SpokenWeb web page "],"item_title_note":["https://spokenweb.ca/symposia/#/spokenweb-symposium-2022"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["SpokenWeb Events"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution, Non-Commercial, ShareAlike (BY-NC-SA)"],"rights_license":["Creative Commons Attribution, Non-Commercial, ShareAlike (BY-NC-SA)"],"access":["Closed"],"creator_names":["Jason Camlot","Katherine McLeod","Michelle Levy"],"creator_names_search":["Jason Camlot","Katherine McLeod","Michelle Levy"],"creators":["[{\"url\":\"http://viaf.org/viaf/90740324\",\"name\":\"Jason Camlot\",\"dates\":\"1967-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/20010042\",\"name\":\"Michelle Levy\",\"dates\":\"1968-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Presenter\"]}]"],"contributors_names":["Aubrey Grant","Kristen Smith","Kiera Obbard","Joseph Shea-Carter","Nick Beauchesne","Chelsea Miya","Ariel Kroon","Carlos Pittella","Lee Gilboa","Kristin Franseen"],"contributors_names_search":["Aubrey Grant","Kristen Smith","Kiera Obbard","Joseph Shea-Carter","Nick Beauchesne","Chelsea Miya","Ariel Kroon","Carlos Pittella","Lee Gilboa","Kristin Franseen"],"contributors":["[{\"url\":\"\",\"name\":\"Aubrey Grant\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Kristen Smith\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Kiera Obbard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Joseph Shea-Carter \",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Nick Beauchesne\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/9162060349751401864\",\"name\":\"Chelsea Miya\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Ariel Kroon\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Carlos Pittella\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Lee Gilboa\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Kristin Franseen\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]}]"],"Speaker_name":["Aubrey Grant","Kristen Smith","Kiera Obbard","Joseph Shea-Carter ","Nick Beauchesne","Chelsea Miya","Ariel Kroon","Carlos Pittella","Lee Gilboa","Kristin Franseen"],"Performance_Date":[2022],"material_description":["[]"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"2022-05-16 SpokenWeb Symposium 2022 - Day One.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"03:57:39\",\"precision\":\"\",\"size\":\"1,269,521,511 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP4 video\",\"title\":\"2022-05-16 SpokenWeb Symposium 2022 - Day One\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2022-05-16\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792786\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549988835329,"timestamp":"2026-01-07T14:59:54.597Z","contents":["The SpokenWeb Research Network (www.spokenweb.ca) is excited to host an in-person and virtual graduate student symposium (academic conference) at Concordia University in Montreal, 16-17 May 2022, on the theme of “The Sound of Literature in Time.”\n\nIntroduction to Theme:  The concepts of sound, time and literature evoke a wide range of research questions when considered in relation to each other. Together, they may suggest questions about how sound has been represented in literary works from different historical periods, how time has structured the way literary works sound (as with poetic metre), how readings and recitations sound literature across a span of time, and how time is sounded in different literary cultures and communities. Explorations of non-Western temporal frameworks, as in Mark Rifkin’s Beyond Settler Time, and a recent special issue on Black Temporality in Times of Crisis edited by Badia Ahad and Habiba Ibrahim, for example, reveal diverse meanings of temporality across cultures. As a concept, sound is always moving through time, and so, descriptions of sound involve the description of time in motion. Even a piece of sound (a sound ‘bite’) must be in motion to be audibly perceptible. As Don Ihde, in his explorations of sound phenomenology observes, “[i]insofar as all sounds are also ‘events,’ all the sounds are within the first approximation, likely to be considered as ‘moving.’” Without motion, sound is rendered silent. This is especially evident in sounds that have been recorded on time-based audio recording media which suggest the possibility of capturing real historical time in mediated form. Media theorists have noticed how the real-time quality of recorded sound, that it puts us into time that has already passed and opens a tunnel connection with the past, triggers what Wolfgang Ernst has called “the drama of time critical media.” An encounter with a recorded sound develops as an experience of real time processing.  It gives the listener the sense that the temporal process one hears is living in the present, replicating the live sonic event, of which it is apparently a real-time reproduction.  Sound recording works on human perception itself, and on our perception of time.  Other sound scholars have noted how the temporal qualities of sound immediately raise questions of historical context. For example, Pierre Schaeffer describes a “sound object” as “something that occurs in a certain place during a particular interval of time” for which questions of “context” apply. Friedrich Kittler’s work on literature and media has insisted that sound recording technology has had a transformative impact upon our relationship to the past. Time itself becomes a variable to be manipulated with technological media (you can speed up, slow down, reverse the direction of the record) suggesting that our capacity to manipulate the media artifact not only enables us to process historical “real time” so that it is experienced as a temporal event in the present, but to transform historical “real time” into events of alternate temporal orders, as well.  Most recently, Mara Mills and Jonathan Sterne have explored the history of listening to literature at accelerated speeds by blind audiobook readers, and the technological history of time shifting in speech-oriented sound media. When we are talking about sound, time, and literature, we are considering the intervolved relationship of something we identify as a literary artifact as a kind of event that suggests possibilities of playing, replaying and creating history. \n\nSounding Signs\n\nChair: Jason Camlot\n\nAubrey Grant [IP] (Concordia), “Resounding the Hollow: Repetition and Onomatopoeia in Poe’s ‘The Bells’”\n\nKristen Smith [IP] (York), “Diagrammatic  Codes, Lines, Crosshatchings: Finding Sound in Non-Linguistic Poetry”\n\nKiera Obbard [IP] (U of Guelph), “Close Reading the Sonic Topology of Instagram Poetry with Poemage”\n\nBroadcasting Temporalities\n\nChair: Katherine McLeod\n\nJoseph Shea-Carter [IP] (U of Guelph), “(Re)sounding Text: Time is Away and Sonic Re-Presentations of Literature”\n\nNick Beauchesne [IP], Ariel Kroon [IP], and Chelsea Miya [IP] (U of Alberta), “‘’A Voice of One’s Own’: Making (Air)Waves about Gendered Language in 1980s Campus Radio”\n\nSounding Together\n\nChair: Michelle Levy\n\nCarlos Pittella [IP] (Concordia), “’We’ the People: Collective Lyric Self in 21st-Century Poetry”\n\nLee Gilboa [V] (Brown), “Sound Together: The Chorus as a Possible Framework for Collectivity”\n\nKristin Franseen [IP] (Concordia), “Gossip, Musical Meaning, and (Im)possible Queer Pasts in Edward Prime-Stevenson’s Short Fiction”\n\n"],"score":4.9067626}]