[{"id":"9995","cataloger_name":["Gloriah,Onyango"],"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 Podcast ShortCuts 5.3, ShortCuts Live! Listening to Wide-Screen Radio with Brian Fauteux, 18 March 2024, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-listening-to-wide-screen-radio-with-brian-fauteux/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2024],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/ee46116d-d019-4f1d-abad-4f2d80ec7d83/audio/c0dedf34-0b8f-4f5f-bb09-eca79069ca45/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"v1-shortcuts-5-3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:15:02\",\"precision\":\"\",\"size\":\"14,433,010 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"v1-shortcuts-5-3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/shortcuts-live-listening-to-wide-screen-radio-with-brian-fauteux/\"}]"],"Dates":["[{\"date\":\"2024-03-18\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"Fauteux, Brian. Music in Range: The Culture of Canadian Campus Radio. Wilfrid Laurier University Press, 2015.\\n\\ndeWaard, Andrew, Fauteux, Brian, and Selman, Brianne. “Independent Canadian Music in the Streaming Age: The Sound from above (Critical Political Economy) and below (Ethnography of Musicians).” Popular Music and Society 45.3 (2022): 251 – 278. [open access]\\n\\n\"}]"],"_version_":1853670549821063168,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This ShortCuts presents one of the ShortCuts Live! conversations recorded at the University of Alberta as part of the 2023 SpokenWeb Symposium. Recorded on site by SpokenWeb’s Kate Moffatt and Miranda Eastwood, the conversations often took place in spaces where the sonic environment of the symposium is audibly present. As always on ShortCuts, we begin with an audio clip from the archives, but this time the interviewees are the ones bringing an archival sound to the table. What will we hear? And where will these sounds take us?\n\n(00:03)\tShortCuts Theme Music\t[Soft piano music interspersed with electronic sound begins]\n(00:16)\tMiranda Eastwood (Recording)\tI’m like, maybe I should get sound effects from [overlap]\nThis is fun. Like maybe footsteps or something. Get whatever the name of this building is and like where we are located since we will be hearing the space and people will naturally –\n(00:17)\tKate Moffatt\tIs it the old arts building?\n(00:23)\tBrian Fauteux\tYeah, that’s kind of the Arts and Convocation Hall. But because we have a fine arts building, a lot of people call this the old arts building.\n(00:27)\tKate Moffatt\tOkay. [laughs] I might let you say that, actually. [laughs]\n(00:46)\tKatherine McLeod\t[Voiceover] Welcome to Shortcuts. This month, we’re back with another shortcut live, talking with researchers in person and starting those conversations with a short-cut of audio. Many of these conversations were recorded on-site at the 2023 SpokenWeb Symposium held at the University of Alberta.\n(01:08)\tKate Moffatt\t[Back to audio recorded on-site.] Uh, hello and welcome to Shortcuts Live. We are live at the 2023 SpokenWeb Symposium at the University of Alberta. My name is Kate Moffitt, and I am the supervising producer for the SpokenWeb Podcast. Stepping in for our usual host and producer, Katherine McLeod. I’m sitting here with Brian Fauteux today.\n(01:16)\tBrian Fauteux\tYeah. My name is Brian Fauteux. I’m an associate professor of Popular Music and Media Studies here at the University of Alberta, and I work in this building.\n(01:24)\tKate Moffatt\tAmazing. Yeah. That echo that the listeners, that you’re hearing right now. It is because we are sitting in the arts and convocation hall building –\n(01:49)\tBrian Fauteux\tIn the lobby, just outside Convocation Hall where we have a big old pipe organ, and we have music that takes place and sometimes I teach, back in the day, I used to teach, not that long ago, [Kate laughs], a couple years ago, I would teach big intro to popular music classes there before the upper balcony was deemed unsafe. So I’ve been moved elsewhere, and I think they want to renovate it and make it a little bit more “state of the art” in there. It’s very beautiful.\n(01:56)\tKate Moffatt\tInteresting. It is. It’s absolutely stunning. Okay, amazing. Well, we’re gonna listen to something. Do you wanna play that for us?\n(01:57)\tBrian Fauteux\tSure. Let’s play.\n(03:11)\tAudio Recording\t[Distorted Audio Of Paul Mccartney’s mid-nineties radio show called “Oobu Joobu” plays in the background.]\n(03:12)\tBrian Fauteux\t[Audio ends.] That’s probably enough.\n(03:23)\tKate Moffatt\tIncredible [Brian laughs]. Thank you so much. Yeah. Miranda is also here, and we’re both sitting here and our heads just started [laughs].\nPlease tell us what we just listened to.\n(04:25)\tBrian Fauteux\tThis is a radio program that Paul McCartney did in the mid-nineties called “Oobu Joobu.” That was kind of a weird sort of experimental radio program that, I think aired on an American network for about 15 shows. And it’s a collection of, as you heard, different songs, audio clips.\nI think he was sort of playing around on a guitar there as well as he introduced it. And I think in 97 parts of this, 1997, parts of this was packaged with his “Flaming Pie” CD release. I think it mainly circulates as sort of bootlegs now or as this recorded version that was kind of sold at Best Buy. It was like a compendium of some of the shows, but I don’t know if the full complete package has ever resurfaced. But what I find interesting about it is it sometimes airs on the Beatles channel on Sirius XM Radio, which is sort of subscriber-based radio.\n(05:16)\tBrian Fauteux\tAnd it’s something I’ve been researching for the last little while, and I’m writing a book on now, and I’ve kind of been drawn to these places where celebrity clash with kind of weirdness and experimentation, but in a very kind of gated commercial subscription setting.\nSo it’s like people kind of paying for access to a radio service that kind of digs around and finds these oddities and packages them on these channels that are all about bands like “The Beatles” or “Tom Petty” or “Bruce Springsteen.” I also like in this clip, and the reason I chose this one, it was probably hard to hear from the laptop into the recorder, but early on, it emphasizes that it’s widescreen radio. And I think that the development of satellite radio kind of piggybacks on satellite television.\n(05:18)\tKate Moffatt\tI was gonna ask, widescreen TVs [laughs].\n(05:25)\tBrian Fauteux\tExactly. So it’s this idea of, we aren’t just your, you know, grandpa’s old radio. This is sort of –\n(05:25)\tKate Moffatt\tOh wow [laughs].\n(05:51)\tBrian Fauteux\tYou know what I mean? It’s like; it’s trying to introduce radio as being new, even though it’s still embedded in longermhistories of institutions like commercial radio broadcasting has used satellites for long periods of time. So it gives it a sheen of newness. Some things are kind of new about it, but I think it’s an interesting way of thinking or complicating ideas around new media, particularly around the turn of the millennium.\n(06:30)\tKate Moffatt\tWell, I’m really fascinated by how, I would love to talk about the listening, like the actual sound, sound of what we just listened to, ’cause that was so delightful.\nThe first thing I thought was mid-nineties television that I grew up with. It was kind of like the sound that I got from that.\nBut I’m really, I have to ask, as like a book historian myself, about the materiality that you’re kind of engaging with as you’re following its trajectory and thinking about how people are engaging with it.\nI don’t know. Can you speak to that at all? Thinking about the ways in which it’s becoming available, or how, I guess literally, the material of the media is informing it.\nIsn’t there a famous quote about that? The media is the –\n(06:30)\tBrian Fauteux\tMessage.\n(06:33)\tKate Moffatt\tYeah. That’s the one [laughs].\n(07:53)\tBrian Fauteux\tI mean, to even talk about McLuhan a little bit too, I think, thinking through about finding these oddities or these sonic traces of satellite broadcasting from the earlier days and this isn’t being played earlier. The Beatles channel comes in, I think, around 2015, if I’m not mistaken, but it’s very limited when something airs. Some of it is archived, some of it is kept online for maybe four weeks.\nYou can access it on demand, but then it goes away, or it’s kept in this place, this company, this publicly traded, massive media conglomerate now SiriusXM is owned by Liberty Media, which has stakes in like Live Nation and Ticketmaster and all these things. So researching that is different from some of my work on campus radio history where you can track stuff down. It’s still kind of scattered, but people are willing to give it to you. And now they’re not.\nSo, McLuhan also writes a bit about acoustic space and cyberspace coming together and how it’s like all around and you sort of dig around and look for these things. So that’s kind of where I end up finding a lot of this stuff is through spending time on the internet and seeing who’s put something somewhere online that you can listen to.\n(08:26)\tKate Moffatt\tRight. I was gonna ask next about listening. The role of listening in both, I guess, how you were finding it and listening to it, but also how you see this kind of… not elite, that’s not the right word.\nExclusive, exclusivity that’s applied to something that was experimental and odd. Yeah, I don’t know. Something about the, yeah I guess just a bigger kind of broader question about the role of listening in the work that you’re doing and what that, how that interacts with what you, what you do and how you do it.\n(09:36)\tBrian Fauteux\tThat’s a good question because part of what I’m looking at is the reasons why media institutions develop in the ways they do. And you can read annual reports and a lot of it is going through tons of trade press stuff over the years and seeing who’s talking about these companies as they develop. But then you wanna find stuff to listen to as well. And it’s not all perfectly available.\nEven most research paths people take, that’s never the case. But part of it ends up being, like listening a lot of the time to different satellite stations, satellite radio stations, or channels.\nThere’s only one station now I guess, but they have a variety of channels. And then trying to find things like this and thinking about is this available elsewhere? And in the cases where it’s maybe the work of a major celebrity, like I’ve written a bit on Bob Dylan’s theme time radio hour, which is kind of like this, where it’s, you know, somebody using their time on the radio who has like the star power but wants to use that time to showcase all these old quote unquote forgotten songs or songs that haven’t really entered the canon, so to speak, but have been massively influential.\n(10:16)\tBrian Fauteux\tThat’s a big part of what that radio, that radio show is doing. When you have people like that, you do have hardcore fans, too, who have recorded all of this and put it online. So stuff like that you can find. And then when you find that, I just listen to as much of it as I can. So there were about a hundred and so a hundred plus episodes of theme time, radio hour, and for, you know, a month or so, I just listened to every single episode to see what is not only what is he playing but how is he talking about it? What’s he introducing, what’s it like, and how does his voice seem to connect with these subscription radio listeners? And, you know, really spending time with the stuff I can find.\n(10:35)\tKate Moffatt\tAnd do you almost get a sense of his listening?\nIn terms of thinking about what they’re finding and putting together, and there’s a curatorial aspect to it.\nDo you kind of start to get a sense you can start to become familiar with yourself?\nOh, I bet so and so, put this one together.\n(11:18)\tBrian Fauteux\tYou also, I mean, you kind of become like held captive slash hostage to this sort of weird way of doing radio. Like, especially with the Dylan voice, and I’m gonna play a bit of it on the Friday morning radio panel that we’re doing as part of the SpokenWeb Institute.\nBut you do get a sense of his own relationship to these songs. But then, through digging a little bit as well, you find that he’s crafted as the curator or the person who has all these shows. It turns out it was a major TV producer responsible for massive commercial television productions. Oh, wow. Over the years, that has the music collection that Dylan’s kind of borrowing from. So you have these other connections –\n(11:21)\tKate Moffatt\tThere’s layers of curations.\n(12:07)\tBrian Fauteux\tYeah, there’s layers, totally.\nThat they’re working in. And he makes it sound like he’s, you know, he constructs this whole world where he is broadcasting out of this historical Abernathy building, but really he does a lot of it on tour and from his house and, you know, it creates this radio world, but it is kind of an entryway into a different side of these massive celebrities and their personalities that people will pay for.\nAnd these satellite radio companies kind of know that. So, you know, know, part of what I’m interested in is before we even get to your Spotifys and Apple musics, this radio company was kind of setting the stage for that idea of exclusivity or, you know, giving big name performers, big talent contracts to then entice subscribers to say, I’m gonna pay like $16 or $20 a month to have access to this stuff –\n(12:12)\tKate Moffatt\tWhich we’re now so familiar with. Like, it’s just so all the time that’s everything.\n(12:15)\tBrian Fauteux\tEverything’s a subscription.\n(12:33)\tKate Moffatt\tWow. Yeah. Wild. Okay. Well I think one last question which is, I’d love to know what you’re listening to now. Like you know, either in your research currently, like maybe something like this, but anything else that’s fun or even just more generally, like what are you listening to right now that really excites you?\n(13:10)\tBrian Fauteux\tSure. I am listening to a lot of music from around the early two thousands when Sirius XM came out for the purpose of this research, but also kind of unrelated but also sort of related to this.\nA colleague of mine and myself just started a campus radio show here. So every week we’re kind of listening a lot to a radio show based on a theme or a topic each week. So I’m kind of constantly thinking about what would be good to put on this week’s show. And a lot of that is Canadian. We have, you know, Canadian content regulations and these sorts of things. So that’s been a lot of fun and that, I know that’s not really answering anything specific, but –\n(13:11)\tKate Moffatt\tNo, I think that’s great actually [laughs].\n(13:41)\tBrian Fauteux\tAnd then, at the same time I’m among the jury for the Polaris Music Prize here in Canada. And the long list voting for that just opened. So I’m just listening to a ton of Canadian music right now that’s been recommended on Google Group listserv. Things that I haven’t listened to. A new album that I quite like a lot out of Edmonton is by a band called Home Front, and that’s been an album I’ve been playing a lot to give sort of one precise thing.\n(13:52)\tKate Moffatt\tI’m actually really curious, you were talking about the campus radio stuff that you’re doing. Do you feel like a little bit like you’re kind of doing the stuff that you research? Like are you Yeah, for sure. You’re taking that curatorial role almost –\n(14:16)\tBrian Fauteux\tA little bit like that, but also before this I wrote a book on campus radio and stepped back from, like when I was an undergrad, I did a little bit of, of campus radio production work, but then when I was researching it, I stepped back and wanted to have more of an arm’s length relationship to it. And I’ve been meeting since I’ve, I moved here and came here to get back into it.\nAnd I kind of just took, you know, another person to be here too and be like, let’s do it together. And that it makes it more social and more fun. And it has been a lot of fun.\n(14:26)\tKate Moffatt\tFantastic connection to the conversation we just had with Jennifer. Waits. Jennifer was talking about how important community is to campus radio, that it’s so inherent to kind of getting it going and keeping it going–\n(14:34)\tBrian Fauteux\tYeah. We were both just on a panel in Washington DC a few days ago talking about campus college radio. Incredible. So we, we have a lot of overlaps in what we are interested in.\n(14:34)\tMusic\t[Music begins playing in the background].\n(14:40)\tKate Moffatt\tThat’s so fantastic. Okay. Was there anything else that you wanted to share? Should we call it there?\n(14:41)\tBrian Fauteux\tThat sounds good.\n(14:50)\tKate Moffatt\tOkay. Thank you so much for sitting down and chatting with us at the end of a very long day and a very long couple of days.\nBut this was just such a fun way for us to wrap this day up.\n(14:50)\tBrian Fauteux\tThat’s great. Thank you for having me.\n(14:52)\tKate Moffatt\tAmazing. Thanks.\n(14:52)\tMusic\t[Music ends]."],"score":1.9077375},{"id":"9996","cataloger_name":["Gloriah,Onyango"],"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 Podcast ShortCuts 5.4, Re-Listening to Improvisation in the Archives, 24 April 2024, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/re-listening-to-improvisation-in-the-archives/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2024],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/3507e689-cef7-4ff3-9c42-9593e0987fdd/audio/cf7c9da1-1404-41d3-9a60-11b4f653287d/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"master-v1-shortcuts-april-23.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:07:02\",\"precision\":\"\",\"size\":\"6,753,010 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"master-v1-shortcuts-april-23\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/re-listening-to-improvisation-in-the-archives/\"}]"],"Dates":["[{\"date\":\"2024-04-24\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549822111744,"timestamp":"2026-01-07T14:59:54.290Z","contents":["As April is the month of poetry, we’ve taken a pause in this year’s ShortCuts Live conversations to listen back to one of the first episodes of ShortCuts, “ShortCuts 1.2 / Audio of the Month: Improvising at a Poetry Reading.”\n\nIn the archival clip played in this episode, we hear Maxine Gadd pausing during a reading with Andreas Schroeder. She asks the host Richard Sommer if he would like to improvise with her for the poem, “Shore Animals.”\n\nListening now, we can ask: what does it feel like for archival listeners to encounter a moment of improvisation? It is a truly memorable moment of listening and worth returning to now in this fifth season of ShortCuts.\n\n00:00\tKatherine McLeod\tWelcome to ShortCuts.\n00:04\tTheme music\t[Electronic music plays]\n00:07\tKatherine McLeod\tThis month, it is April, the month of poetry, and I thought that we’d take a pause in this season’s ShortCuts Live conversations to listen back to an early episode of ShortCuts – to hear an early version of ShortCuts: thinking about what means to be an archival listener.\n00:28\tKatherine McLeod\tBy the way, this episode is such an early episode of ShortCuts that I hadn’t even come up with the name “ShortCuts” yet.\nYou’ll hear me refer to it at one point as “Audio of the Month,” that was what I was calling it in that first season.\n00:43\tTheme music\t[Theme music continues]\n00:45\tKatherine McLeod\tWhat was the archival clip of this episode? Well, you’ll hear Maxine Gadd pausing during a reading with Andreas Schroeder to ask–\n00:55\tMaxine Gadd, Audio Recording\tDo you want to try improvising?–\n00:58\tKatherine McLeod\tAfter reading for about 45 minutes, Maxine Gad invited the host of the evening, Richard Sommer, to improvise on the flute.\n01:05\tRecording\tI gotta find it first –\n01:09\tKatherine McLeod\tListening now, we can ask, what does it feel like for archival listeners to encounter a moment of improvisation? Improvisation is so rooted in the experience of being there. So, what does it feel like to hear improvisation again? To hear it in the archives and even in this replaying?\n01:31\tKatherine McLeod\tWell, considering these questions, we can also listen to the extent to which we can hear the audience’s excitement for this spontaneous moment amid the reading and Gadd’s invitation for the flute to listen.\n01:45\tSound Effect\t[Sound of pressing play on a tape player]\n01:50\tKatherine McLeod\tLet’s listen now together to Shortcuts 1.2,\nAudio of the Month: “Improvising at a poetry reading.”\n02:05\tMaxine Gadd, Audio Recording\tYeah. It’s just going to be some sounds [inaudible].\n02:10\tKatherine McLeod [from ShortCuts 1.2]\tIn this “Audio of the Month,” we’re travelling back to February 1972, when poets Maxine Gad and Andreas Schroeder read in Montreal. They read at Sir George Williams University, or what is now Concordia.\nThey read on February 18th in the Hall Building in room H651. The reading started at 9 pm.\nYes, readings started late and went on for a long time. After reading for about 45 minutes, Maxine Gad invited the host of the evening, Richard Sommer, to improvise on the flute. He improvised along with her, reading the poem Shore Animals. Before starting to improvise, we can hear a negotiation between Gad and Sommer about what to read and how to perform together. A process that is its own audible improvisation.\n03:02\tMaxine Gadd, Audio Recording\tOh, here it is.\nNow, how it goes, you have to keep quiet until…\n[Random Flute Notes]\nSee now,  [laughs] he’s never done this one before.\n03:15\tRichard Sommer, Audio Recording\tWhat, what, yeah, what do you want me to do then?\n03:18\tMaxine Gadd, Audio Recording\tOkay, this is called “Shore Animals.”\nIt’s a speech piece with a flute, and the flute has to listen. And it can speak, too.\n03:30\tKatherine McLeod [from ShortCuts 1.2]\tThe audio clip that you’ll hear includes the first two minutes of a six-minute improvisation. Their improvisation is a singular moment when an audience member, in this case Richard Sommer, formally performs in the Sir George Williams poetry series. At the same time, this recording reminds listeners that the audience is always present, ready to improvise, interject, and even interrupt. And that the audience is also what we are listening to as archival listeners.\n04:03\tMaxine Gadd, Audio Recording\tThe flute, I think it’s over there.\nFor fun.\nThe same message?\nI’m asking; Richard’s going to make some noise with my flute.\n04:19\tRichard Sommer, Audio Recording\tI’ll make some noise if you give me a microphone.\n04:21\tMaxine Gadd, Audio Recording\tOkay. Which one you want? Let’s share it. Is–\n04:25\tRichard Sommer, Audio Recording\tIt doesn’t make any difference.\n04:26\tMaxine Gadd, Audio Recording\tIt goes with the poem [inaudible].\n04:28\tRichard Sommer, Audio Recording\tHow’d you do that?\n04:29\tMaxine Gadd, Audio Recording\tWhat?\n04:31\tRichard Sommer, Audio Recording\tThis, this knot.\n04:32\tMaxine Gadd, Audio Recording\tI’ve tied myself in there.\n04:32\tRichard Sommer, Audio Recording\tHere we go.\n04:33\tMaxine Gadd, Audio Recording\tI don’t know where I can find it—[Long pause] pieces, pieces. Oh, here it is.\nNow, how it goes. You have to keep quiet until… [Random Flute Notes] See, now… [Laugh] He’s never done this one before.\n05:04\tRichard Sommer, Audio Recording\tWhat, what, yeah, what do you want me to do then?\n05:06\tMaxine Gadd, Audio Recording\tOkay, this is called “Shore Animals,” and it says, “speech feas—piece with flute,” and the flute has to listen.\nAnd it can pl–, it can speak, too. You have to listen to it. Yeah, you never heard it before.\n05:21\tRichard Sommer, Audio Recording\tI think it’s learning how to speak.\n05:26\tMaxine Gadd, Audio Recording\tIt’s called “Shore Animals,” a speech piece with a flute.\n[Maxine begins to recite, Richard plays the flute]\n“So hearing where the poppy stopped me,\nsmall chance to star spiel, all you have told me,\ngone, false and beautiful gods and groves.\nPeople truth. Put it into song when the traffic is gone, gone, gone.\nI’ll fling it in the air—my debt to your tongue, Saturn.\nIn your minds, I’ve split a spleen, lust my lust.\nCome along, fawn. Oh! So, I have to whistle to you.”\n[Audience laughs] [Whistling]\n06:23\tKatherine McLeod [from ShortCuts 1.2]\tThat was Maxine Gadd reading “Shore Animals” with Richard Sommer improvising the flute at a reading that took place in Montreal on February 18, 1972.\n06:34\tTheme music\t[Theme music fades in]\n06:38\tKatherine McLeod\tHead to SpokenWeb.ca to find out more about the audio of the month and how to listen to the entire recording. My name is Katherine McLeod. Tune in next month for another deep dive into the sounds of the SpokenWeb archives.\n07:00\tTheme music\t[Theme music ends]\n \n\n"],"score":1.9077375},{"id":"9997","cataloger_name":["Gloriah,Onyango"],"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 Podcast ShortCuts 5.5, ShortCuts Live! Turning Our Bodies Toward Sound with Xiaoxuan Huang, 20 May 2024"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-hybrid-poetics/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2024],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/7870778a-a9bf-49d8-a85e-431dd4a12705/audio/b6cd0426-b37e-451f-8416-8453d559a884/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"shortcuts-may-17-mix-v1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:25:58\",\"precision\":\"\",\"size\":\"24,935,487 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-may-17-mix-v1\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/shortcuts-live-hybrid-poetics/\"}]"],"Dates":["[{\"date\":\"2024-05-20\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"AUDIO\\n\\nHuang, Xiaoxuan.  “the way we hold our hands with nothing in them.”\\n\\nSinister Flower, the radio show curated by Lucía Meliá and what Xiaoxuan talks about listening to recently.\\n\\n*\\n\\nRESOURCES\\n\\nRead “Vibrate in Sympathy,” a poetic reflection on the 2022 SpokenWeb Symposium written by Xiaoxuan Huang,\\n\\n\"}]"],"_version_":1853670549822111745,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month, we’re back with another Shortcuts Live, talking with researchers in person and starting those conversations with a short ‘cut’ of audio. These ShortCuts Live conversations were recorded on-site at the 2023 SpokenWeb Symposium held at the University of Alberta.\n\nIn this conversation, Xiaoxuan Huang talks about hybrid poetics (and more) with then-supervising producer Kate Moffatt. The audio that informs this conversation is a clip from an audio-visual poetry collage by Huang called “the way we hold our hands with nothing in them.”  The audio of this collage beautifully sets the sonic environment for this conversation. Listen, and find yourself turning towards the sound.\n\n\n00:00\tKate Moffatt:\tKatherine will write a little host, or she has a little host intro that goes in. I don’t know if she writes new ones for each one. Sometimes, she does, but we can also introduce it a little.\n00:08\tMiranda Eastwood:\tShe does. No, she will do it, especially for the live Shortcuts. She does. It’s just to be like, “That’s what’s going on,” because they’re special.\nRight.\n00:13\tKate Moffatt:\tThe live ones are the best ones.\n00:14\tMiranda Eastwood:\tThey’re very good.\n00:16\tXiaoxuan Wong:\tLive things tend to be–\n00:18\tKate Moffatt:\t[Kate and Miranda laugh] Yeah. Yeah. They’re very good. And is it recording right now already?\n00:21\tMiranda Eastwood:\tIt is recording right now.\n00:22\tKate Moffatt:\tI love this little behind-the-scenes, where it’s like [Laughter] “What the heck are we doing?”\nThat’s so perfect. Did we decide how we wanted to start the episode?\n00:29\tXiaoxuan Wong:\tCould I have a […] I mean, I’m just gonna drink some water. [Laughter]\n00:31\tKate Moffatt:\tPlease go for it. Yeah. Yeah.\n00:34\tMiranda Eastwood:\tNope, we can do whatever we want. We can just go for it. Whatever feels right. Okay. [Laughter]\n00:39\tKate Moffatt:\tUm, I will wait until you’re done with your water bottle.\n00:41\tMiranda Eastwood:\tYou can say, “This is Shortcuts with Kate Moffatt.”\n00:44\tKate Moffatt:\t“Welcome to Shortcuts Live.”\nDo I need to introduce myself? No.\n00:46\tMiranda Eastwood:\tYou should. It would–\n00:47\tKate Moffatt:\tDoes Katherine introduce herself?\n00:49\tMiranda Eastwood:\tWell, no, but she’s the producer. We–\n00:51\tKate Moffatt:\tShe’s always the person who does it. Oh my gosh. Okay.\n00:54\tMiranda Eastwood:\tBut she does say, “I’m Katherine.”\nShe does say, “I am Katherine McLeod.” I think. Now my brain’s just zoning it out ’cause I’m like, “Oh, I know, I know. It’s Katherine McLeod” [Laughs]\n01:03\tXiaoxuan Wong:\tI think it’s always nice as a listener, [overlap: “to know who you’re listening to.”] even if you’re a long-time listener.\n01:07\tKate Moffatt:\tWorst case, we can cut it out.\n01:11\tKatherine McLeod:\t[SpokenWeb Shortcuts Theme Song Starts Playing]\nWelcome to Shortcuts. My name is Katherine McLeod, and I’m the producer for this Shortcut series on the podcast. Yes, they were right, I am introducing myself and telling you about what you’re going to hear.\nThis month, we’re back with another Shortcuts Live, talking with researchers in person and starting those conversations with a shortcut of audio. These Shortcuts Live conversations were recorded on-site at the 2023 SpokenWeb Symposium held at the University of Alberta. For this conversation, we’re sitting down with Xiaoxuan Wong to talk about sound, language, video, poetry, voice, making room for the indeterminate, and more, like playlist recommendations – listen to the end for that.\n02:01\tKatherine McLeod:\tThe conversation is led by Kate Moffatt, and you’ll occasionally hear Miranda Eastwood recording in the background and adding a few comments, including an enthusiastic applause that I have left in at the end. I love that applause because it really emphasizes that this was recorded live. Let’s jump back into that onsite conversation and let the conversation speak for itself.\n[Music fades]\n02:30\tKate Moffatt:\tHello and welcome to Shortcuts Live. My name is Kate Moffatt. I am the supervising producer for the SpokenWeb podcast, and I’m hopping in for Katherine McLeod on this particular episode of Shortcuts. We are so excited to sit down with Xiaoxuan Wong today, and actually, yeah. Xiaoxuan, would you mind introducing yourself?\n02:55\tXiaoxuan Wong:\tOf course. I am so happy to be here. Thank you, Kate, for sitting down with me. Yeah. My name is Xiaoxuan Wong. I also go by just Xiao and sometimes publish under Sherry as well, Sherry Huang. But yeah, I am a poet, first and foremost. But I feel most at home, kind of playing around with different mediums and voicings and spaces. So, I kind of describe myself as working in “hybrid poetics.”\nThe piece that we’re gonna be maybe talking about and hearing a little bit from will sort of be a good example of how my practice converges a few different\nmediums.\n03:48\tKate Moffatt:\tWonderful. And I think we are, we’re gonna just start by\nlistening to this. Is that right? Okay. Let me pull it up. And here we go.\n03:58\tXiaoxuan Wong, Audio of Xiaoxuan Reading “The Way We Hold Our Hands With Nothing in Them” \t[Audio From A Video Poem Played. Ambient Music Plays And A Voice Reads The Words As A Poem.]\nI don’t know the names of trees, but I can tell what time it is from the way their shadows lean. It might feel sometimes like we are here just to run out of time. I want you to know, it hurts me, too. One day, we will drive through the mountains. The weather will be unusually hot. Actually, it will be your birthday again. You will pull over on the side of the road and say, “come here. I wanna show you something.” And it will be the tops of trees. I go to a lot of parties, hoping I’ll see you there. Often, what I remember the next day is all the people outside smoking. The air flares up in turns, like a circle of lightning bugs. Someone offers me a drag, I refuse, or no one does. And I ask for one, forgetting I was supposed to be leaving just like in previous years. This summer, too, is likely to leave us with its heat mixed into us. The trees are thinking of what I’m thinking of – your face next to mine in the absenting light due to atmosphere. Due to all the time we don’t have.\n06:07\tKate Moffatt:\tOkay. Amazing. Xiao, can you please–\n06:11\tXiaoxuan Wong:\tThank you–\n06:12\tKate Moffatt:\tTell me what we were just listening to.\n06:15\tXiaoxuan Wong:\tYeah. So, we’re recording this at the SpokenWeb Symposium hosted at U of A. And this piece was sort of, you know, made with existing […] the text was pre-existing, and the ambient guitar that you hear was improvised.\nBut this iteration of this project was made in response to the call of this year’s symposium “Reverb Echo.” So yeah, this piece is like around six minutes. It’s an audio-visual piece as well as a poetry collage of, I guess, fragments that I took from a longer project, which was my master’s thesis called “All the Time.”\nBut, this iteration of this project, the six-minute audio-visual poetry collage, is called “The Way We Hold Our Hands With Nothing in Them,” which itself is a fragment from “All the Time.” So, I think what I said before about multiple mediums and practices kind of informing me, my mode of practicing “hybrid poetics,” this is one version of how it sometimes shows up. Generally, I think about sound and musical sound and ambient sound or ambient musical sound, I guess, as a part of the voicings of my poem. But, it’s not necessarily the most authoritative one. I love my poems dearly when they’re just on the page as well. And also just, you know, read.\nAnd so there’s these multiple registers of voicings that I’m really interested in playing with. And kind of sensing through how certain ways of displaying the poem could, on some levels, create a different type of room that we can all enter together and that feels different from the room that is made through just a stanza, which itself also means room.\n08:55\tXiaoxuan Wong:\tYeah. [Laughter] It’s been one of those concepts that have long haunted me, and I’m sure long haunted many other thinkers and poets, as well. But, it feels really appropriate to me ’cause I think that’s part of what I wanna do with language, is to create an atmosphere as well as tell a story. I know that my relationship to language and poetic language has always been something I am gonna continue to grapple with. But I think I was having a conversation, earlier where I said that these remediations of poetry and poetic text through music and performance and video and image components as well. I’ve done some screen printing, as well, of my poetry.\n10:00\tKate Moffatt:\tThat’s so cool. [Laughs]\n10:02\tXiaoxuan Wong:\tAnd, yeah, these are all kind of ways to push back against languages, urge to close in on itself and signify too quickly, or kind of seal itself off from the indeterminate.\n10:22\tKate Moffatt:\tTo be contained–\n10:23\tXiaoxuan Wong:\tYeah, yeah.\n10:24\tKate Moffatt:\tWhich has some interesting kind of echoes of the idea of like the room that you were talking about, an atmosphere for, to resist that containment that a word has kind of inherently.\n10:34\tXiaoxuan Wong:\tPrecisely. And I think I wanna give the room – and also language itself like room – to come and go and alter. And I think that’s the kind of, when language is employed like that, it gets me really excited. And it sort of lives in my body differently. It lingers. It has longer staying power when there’s a kernel of indeterminacy to it. Because I find that it sort of becomes more rich with wider application–\n11:20\tKate Moffatt:\tThe possibility that comes with almost like the embodiment of it.\n11:24\tXiaoxuan Wong:\tAbsolutely. Yeah. And, so in this video piece what I guess our listeners can’t see is there are sort of bad subtitles on screen. So\nthe visual is just actually like an iPhone footage. One long shot of, I think a blood moon from last year that I took.\nAnd, the image of the moon has kind of accompanied my short, relatively short career as an artist. I’m only 30, so yeah. And, I’m sure it’ll stay with me. But, on top of the video are these like yellow kind of traditional, like yellow font?\n12:21\tKate Moffatt:\tI noticed that sometimes, there’s like the square brackets where there’s words missing or bits and pieces, and not everything is subtitled. Right?\n12:29\tXiaoxuan Wong:\tYeah. And that was kind of a decision that I made on a fly. And I think that aesthetically evoking this, the way I play with space on the page too, when it’s a textual, like a purely textual piece I use a lot, I consider a lot about the space on the page. I don’t really use traditional punctuation. I forgo conventional capitalization and punctuation for spacing. And I think spacing itself is like one of the main ways that I write with.\n13:09\tKate Moffatt:\tYeah. Our listeners aren’t gonna know this, and maybe you don’t either, but I absolutely had goosebumps while I was reading the sort of yet partial subtitles unfinished in a way. But, yeah, that very intentional kind of creating of space in the subtitles itself was, yeah. Anyways, I got goosebumps. So that’s kind of fun. [Laughs]\n13:29\tXiaoxuan Wong:\tThat’s beautiful. Thank you for telling me that. Thanks, Kate.\n13:34\tKate Moffatt:\tNo, of course. It was, it was stunning. I can’t wait to watch the whole thing. Actually. I feel like, I wish we could just have played the whole thing. It was so lovely. Those first couple of minutes.\n13:45\tXiaoxuan Wong:\tThank you. Yeah. The square brackets felt important to me over parenthetical, like curve brackets. There’s something about the square brackets aesthetically that I feel have less associations with an “aside” or, you know, a kind of “lower register of signification.” I didn’t necessarily want those connotations of like this is an “aside” or what is being redacted, totally being redacted is less important. Or rather, that what is unsaid is less important. I think that with the square brackets, my hope is to kind of invite in room for kind of, again, the indeterminate what is unsaid, what can’t be said, and what even sometimes the square brackets are on screen when the, the voice in the audio is actually completing the line.\nSo also, you know, putting those two intentions, like the visual of the square brackets, the text being withheld on screen while the voice is kind of speaking in utterance.\n15:10\tKate Moffatt:\tWhy is it something that can be voiced but not written down?\n[Overlapping: Right. Right.] What makes you kind of question the gap that’s maybe occurring?\n15:18\tXiaoxuan Wong:\tThat’s such an interesting reading of that. Yeah. I love that. And, I think one of the best parts of my conference experience, especially with SpokenWeb, is the conversations that I get to have with everyone else who loves thinking about sound and exalting the unspoken and silence and the fullness and the capability of silence, potentiality of silence.\n15:47\tKate Moffatt:\tI’d love to, if you don’t mind, just hop back quickly to[…]you were saying that you do get this kind of like multiple registers of voicing in the poem and thinking about different ways of engaging with like the room or the containment. And I’m just[…]you bringing up the conference and kind of what we’ve been discussing over the past couple of days. We’ve often brought up, you know, these ideas of echoes, particularly the ways that echoes are created or the way that reverberations sound in rooms, spaces, or architecture. And I just wanted to ask if to bring this around a little bit to listening and the role that maybe thinking about those spaces and how sound is created in those spaces, or how you think about creating sound in things like a room. If there’s a particular role that listening plays, if there are multiple registers of listening because you’ve got multiple registers of voicing, and how the space that this is happening in, or the space that you’re creating for it, how that impacts that.\nI don’t know. That’s a big, long, twisty question. Feel free to take anything from there that feels like it speaks to you.\n16:53\tXiaoxuan Wong:\tI love it when questions twist, ’cause then that allows my answers to twist.\n16:57\tKate Moffatt:\tWonderful. Give us a twisty answer.\n16:59\tXiaoxuan Wong:\tSo one part of this video that we didn’t get to hear later, the voice says, “some ways of listening, turn the whole body into an ear”–\n17:15\tKate Moffatt:\tOh, wow.\n17:16\tXiaoxuan Wong:\tAnd I –\n17:18\tKate Moffatt:\tI got more goosebumps. [Laughter]\n17:21\tXiaoxuan Wong:\tI mean, think in a way that[…]talk about a twisting, right? Like the body itself in turning becomes an apostrophe. Like, apostrophe is, means, to turn. And, I –\n17:40\tKate Moffatt:\tStunning. That’s so stunning. Sorry, I need a second. [Laughter]\nThat’s so lovely.\n17:45\tXiaoxuan Wong:\tYeah. I love that question because I think that[…]and I love that we’re recording this in a sound booth, which in a way is attempting to like erase the space or the contours. [Overlap: Oh, yeah.]\nI think with that line, the way I’m feeling it now in conversation with your question is like, I’m thinking about turning’s relationship to listening and like what it does to turn a body to face a certain way. And so, now I’m thinking about orientation, what we choose to focus on. And we all know that listening is as much about attention and focus as it is about volume. So, I think that ultimately, listening is an orientation that we get to choose. I mean, to a certain extent.\n18:46\tKate Moffatt:\tRight? No, but I know exactly what you mean. Yeah. That there is, that we should not feel like it’s something passive that’s only happening passively. There is so much intentionality, and that intentionality can shape that entirely.\n18:57\tXiaoxuan Wong:\tYeah. Yes. Yeah. [Laughter]. Yes. Yes. That’s it. [Laughter].\n19:02\tKate Moffatt:\tOh, that’s such a wonderful answer. And I feel like even as you were saying that about us being in the booth too that we have kind of prioritized, we are choosing to forgo the space, the larger space that we’re in. For the sake of like a clear voicing. In technical terms, like a clear particular voicing of our conversation.\n19:28\tXiaoxuan Wong:\tUhhuh [Affirmative]\n19:28\tKate Moffatt:\tAnd like, yeah.\n19:30\tXiaoxuan Wong:\tYeah. Um, like I love analog technology because of its grit. And it’s like the grain, like Barthes talks about, like the grain of the voice. And I just, um, yeah. Like incredible.\nMy friends make fun of me. This is off-topic now, but my friends – I love it – make fun of me for all my playlists. Like, my music taste is like boys who can’t sing and sad indie girls. And, um, [Laughs]–\n20:02\tKate Moffatt:\tI love it. I love it. You’re really selling your playlist, actually. I love it.\n20:07\tXiaoxuan Wong:\tAnd I like, I don’t know, there’s something about hearing flaws\nand, um, hearing texture when things aren’t super smoothed out and polished, that is so compelling to me. And so, when I take that as like a, um, I think that’s informed by like my, the way I grew up in small-town Ontario, music scenes and, um, Kingston, Ontario – shout out to Kingston [Laughs] – um, such a rich music scene for its like per capita in terms of its–\n20:47\tKate Moffatt:\tI love that–\n20:48\tXiaoxuan Wong:\tIt’s population. I think there are so many wonderful things, like collectives working together to bring and sustain God. We know, we all know how hard it is to sustain a scene; takes all of us. And yeah, like I think my embracing of the grittiness and not erasing certain contours or not blurring, I guess like cleaning up things too much is informed by experimentation and just doing it. Not being interested in being, I don’t know, an apprentice in [Laughs] for too long before actually picking up a guitar or picking up some drumsticks.\n21:41\tKate Moffatt:\tBut that imperfection is actually part of the, it’s part of the magic that’s happening in the first place.\n21:46\tXiaoxuan Wong:\tYeah. And it allows for you to put on a show then…Like, I don’t know why I love that–\n21:53\tKate Moffatt:\tThat’s more important than making it perfect first, right?\n21:56\tXiaoxuan Wong:\tYeah. Yeah.\n21:57\tKate Moffatt:\tOr making it perfect at all. Amazing.\nOkay. Well, I’d like to finish with one last quick question, which is: What are you listening to lately? Like in your research or at the conference–\n22:08\tXiaoxuan Wong:\tOh, gosh.\n22:09\tKate Moffatt:\tOr even just generally. This is kind of hopping off of that lovely little playlist tangent you sent us on. But we can end with this one, but yeah. What are you listening to?\n22:19\tXiaoxuan Wong:\tI, okay, so I am listening to…I love radio. I love the intimacy of radio, especially community radio, campus radio, you know, hearing myself being addressed. One-on-one. So it feels like, to me I’ve had, I’ve written about it. I’ve kind of, that’s a relationship to another’s voice that feels really special.\n22:57\tKate Moffatt:\tThat’s such a gorgeous way to think about it.\n23:00\tXiaoxuan Wong:\tThanks. So, I guess like radio shows, I don’t know. I workout to like\nNTS’s “Infinite” mixtape, [Laughs] that they have on there, and make some cool discoveries there. And yeah, I think I’ve, the internet has introduced me to a lot of connections too, like Lucía Meliáwho is based out of Mexico City. She is, yeah, she is a radio…she has a radio show called “Sinister Flowers.” That great name, right?\n23:42\tKate Moffatt:\tGreat name. [Laughs]\n23:43\tXiaoxuan Wong:\tThat is a, I think the most ideal. It’s everything I want in a radio show. It has critical theory. It has music and like field recordings. Poetry works its way in there. And Lucía’s taste is just like, right on. So I, yeah. And right now I’m listening to “Sinister Flowers.”\n24:13\tKate Moffatt:\tI’m gonna have to write that down. Well, I think we’ll stop there. Thank you so much. It was so lovely. It was so, words are not capturing this properly. It wasn’t lovely. It was so much more than lovely, but it was lovely. So thank you so much, so much for joining us and\n24:27\tXiaoxuan Wong:\tSee you at the conference.\n24:28\tKate Moffatt:\tSee you at the rest of the conference, yeah.\n24:29\tXiaoxuan Wong:\tThere’s a cabaret tonight.\n24:31\tKate Moffatt:\tThere’s a cabaret. We’re gonna go listen together at the cabaret.\n24:35\tXiaoxuan Wong:\tThank you so much, Kate.\n24:36\tKate Moffatt:\tThank you.\n24:36\tMiranda Eastwood:\tYay! [Miranda cheers]\n24:39\tMusic:\t[SpokenWeb theme song starts playing]\n24:42\tKatherine McLeod:\tYou’ve been listening to Shortcuts.\n24:46\tKatherine McLeod:\tThanks to Xiaoxuan Wong for talking with us in this episode. And a big thanks to Kate Moffatt and Miranda Eastwood for conducting and recording the conversation.\nShortcuts is part of the SpokenWeb podcast.\nThe SpokenWeb podcast is made up of supervising producer Maia Harris, sound designer, James Healy, transcriber, Yara Ajeeb, and co-host Hannah McGregor, and myself, Katherine McLeod. Like all of these Shortcuts live\nconversations from last year’s symposium, there really is a sense of being there. And, I thought that this conversation in particular was such a great way of thinking back to the feeling of being there last year and looking ahead to this year’s symposium. In fact, we’ll be rolling out the last of these Shortcuts Live conversations as a full episode in the very same week as this year’s SpokenWeb symposium takes place. Stay tuned for that in the first week of June, right here on the podcast feed. And, for now, thanks for listening."],"score":1.9077375},{"id":"9998","cataloger_name":["Gloriah,Onyango"],"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 Podcast ShortCuts 5.6, Open Door Listening, with Brandon LaBelle at Errant Bodies Press, 29 July 2024, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/open-door-listening-with-brandon-labelle-at-errant-bodies-press/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2024],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/291d921e-f868-4021-87cf-786ea58df875/audio/50ec4344-8b6b-4319-8f76-062ea1d7b47c/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"audio-sample-shortcuts-errant-bodies-press.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:21:34\",\"precision\":\"\",\"size\":\"20,770,108 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"ShortCuts - Errant Bodies Press\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/open-door-listening-with-brandon-labelle-at-errant-bodies-press/\"}]"],"Dates":["[{\"date\":\"2024-07-29\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"REFERENCES\\n\\nCopeland, Stacey, Hannah McGregor and Katherine McLeod. “The Kitchen Table is Always Where We Are: Podcasting as Feminist Self-Reflexive Practice.” Podcast Studies: Theory into Practice, eds. Dario Linares and Lori Beckstead, Wilfrid Laurier UP, forthcoming in December 2024.\\n\\nLaBelle, Brandon. “Poetics of Listening.” ESC: English Studies in Canada, vol. 46 no. 2, 2020, p. 273-277. Project MUSE, https://doi.org/10.1353/esc.2020.a903562.\\n\\nMcLeod, Katherine. “Archival Listening.” ESC: English Studies in Canada, vol. 46 no. 2, 2020, p. 325-331. Project MUSE, https://doi.org/10.1353/esc.2020.a903565.\"}]"],"_version_":1853670549825257472,"timestamp":"2026-01-07T14:59:54.290Z","contents":["ShortCuts as a series on The SpokenWeb Podcast feed is coming to an end.\n\nFor the past five seasons, ShortCuts producer Katherine McLeod has been bringing you deep dives into the archives. Through this process, ShortCuts has asked the question of what it means to listen closely and carefully to short ‘cuts’ of audio. ShortCuts has become a sonic space to practice feminist listening and that listening has informed and continues to inform audio-based research, performances (including performances based on ShortCuts audio), and print publications (such as “Archival Listening” and “The Kitchen Table is Always Where We Are: Podcasting as Feminist Self-Reflexive Practice”).\n\nFor this final ShortCuts, we listen to a conversation with Brandon LaBelle recorded on-site at Errant Bodies Press in Berlin. Listen to hear a reading from LaBelle’s “Poetics of Listening” (as published in ESC “New Sonic Approaches in Literary Studies”), to hear about Errant Bodies Press and what it sounds like to be there, and to hear the open door as a way of listening. That open door listening will continue even after ShortCuts ends.\n\nStay tuned for what is next!\n\n[Sound of walking down stairs and door opening] (00:00)\n\nKatherine McLeod (00:22):\n\nWelcome to Shortcuts. \n\n[Door closes and theme music begins]\n\nKatherine McLeod:\n\nThis ShortCuts is recorded in Berlin. It is a conversation with Brandon LaBelle at Errant Bodies Press. The episode explores the sound of Errant Bodies Press as a space of listening. It just so happened that where I was staying in Berlin was within walking distance. We laughed about that when I arrived.\n\nMy conversation with Brandon LaBelle took place after his piece “Poetics of Listening” was published in the special issue of English studies in Canada that I edited with Jason Camlot. The special issue is called “New Sonic Approaches in Literary Studies.” And when I sat down with Brandon LaBelle at Errant Body’s Press, there was the journal issue on the table. It had made it to Berlin and it was ready to make itself heard in this space of listening.\n\n \nBrandon LaBelle (01:56):\n\nWould you like some tea, or water?\n\n \n[Music]\n\n \nKatherine McLeod:\nThis is such a, a beautiful space. I was –\n\n \nBrandon LaBelle (02:10):\n\nYeah. Yeah. No, we really enjoyed it. I’ve had it for a couple years now, and yeah. I’ve been kind of working here as a studio and, and then like having a home for the press. Yeah. And lately it’s become more, I’ve started to invite some friends to join me, so now we’re kind of creating a little bit of a collective more like a kind of a study group. \n\n \nKatherine McLeod\n\nMm-Hmm. <Affirmative> \n\n \nBrandon Labelle:\n\nWe’re all like focusing around listening and planetary. So yeah. We’re having kind of study sessions and making workshops and small events, so the space really is conducive to that. \n\n \nKatherine McLeod (02:53):\n\n‘Cause I was so interested in how the space is both a press and also a space of practice and developing methods and collaboration together. And so this combination of space adds again, the, both like the physical presence of books, but also a space of real performance and enactment that that clearly takes place in it too. So that’s, it’s a really fascinating combination. Even just as I look around, I see the books are so present, and yet it feels like at these tables, action takes place and listening takes place. So it feels like the kind of space that invites both.\n\n \nBrandon LaBelle (03:34):\n\nYeah.\n\n \nKatherine McLeod (03:35):\n\nYeah. And the Listening Biennal, does that take place here? Or is that,\n\n \nBrandon LaBelle (03:40):\n\nYes\n\n \nKatherine McLeod\n\nI mean, I see the poster.\n\n \nBrandon LaBelle (03:42):\n\nYeah. Yeah. This is actually our new poster. Oh, that was from last\n\n \nKatherine: \n\nYear. Oh, thank you. \n\n \nBrandon LaBelle (03:47):\n\nTwo years ago. Yeah. And yeah, so what we’re planning now is to actually Yeah. Install the biennial here. Okay. To make a listening lounge. So we’ll kind of get rid of the tables and just have some carpets and pillows and oh, nice. Yeah. And sort of have, be open on the weekend and, and sort of diffuse the audio works and yeah. Create a kind of cozy environment for people to be here and listen together. So that’s kind of the plan. Next week we have the Listening Academy, which is focusing on the somatic. And then we’ll have a performance on Saturday with Sixth Dancers that we’ve been developing called The Open Body.\n\nKatherine McLeod:\n\nOkay.\n\n \nBrandon LaBelle (04:32):\n\nWhich really takes listening as the basis for movement Right. And developing different strategies around that. So yeah. We’re, yeah, I’ve been rehearsing that the last month. \n\n \nKatherine: \n\nHave you been part of that as well? \n\n \nBrandon LaBelle (04:45):\n\nI’m sort of conceptualizing the project. \n\n \n\nKatherine: \n\nAmazing. \n\n \n\nBrandon LaBelle (04:48):\n\nAnd then yeah. Working with different performers. Yeah. But it’s coming along, and should be interesting to stage it. \n\n \n\nKatherine:\n\nWhere will that take place?\n\n \n\nBrandon LaBelle (04:58):\n\nIt’s at a performance venue just in the neighborhood here. It’s an old ballroom Oh, wow. With former East Berlin, and yeah. It’s been running as a venue for probably 20 years now, so it’s a wonderful space. \n\n \n\nKatherine:\n\nYeah. Yeah. I was reading a bit about the old ballrooms that are, maybe it’s even that same one that is in this neighborhood that oh, that sounds fantastic. Yeah. Yeah. And then the space can kind of become part of the Mm-Hmm. <Affirmative> the performance.\n\n \n\nBrandon LaBelle:\n\nYeah. It’s a wonderful environment. They have a, it’s sort of set in a park, which is partly a cemetery.\n\nThey have these large, very large windows in the space that we’re gonna uncover and just look out into the, into the trees, use the sunlight and the, the evening twilight as the, the lighting. Oh, beautiful.\n\n \n\nKatherine: \n\nBeautiful. Yeah. Yeah. Oh, that’s, oh – \n\n \n\nBrandon LaBelle (05:46):\n\nThat’s nice. She should be lovely.\n\n \n\nKatherine (05:48):\n\nYeah. Sounds beautiful. Yeah. And then thinking of what I, what I do in shortcuts is almost like a, like, I call it like a deep dive into archival sound and where we can, you know, really listen to one clip or one sound. So I was thinking about this space itself that we’re in and thinking of almost like if this is a shortcuts episode, almost like a deep dive into the sound of err bodies press <laugh>, and a close listening to it. So I thought maybe if I ask you a sort of a more formal question of what are we listening to now?\n\n \n\nBrandon LaBelle (06:25):\n\nMm-Hmm. <Affirmative>  Well, let’s, let’s take a moment. Yeah. I mean, I guess for myself, what has always been really essential that I’ve tried to kind of find ways of developing is maybe what we could think of as the open door. \n\n \n\nKatherine: \n\nMm-Hmm. <affirmative>. Mm-Hmm. <affirmative>. \n\n \n\nBrandon:\n\nSo, and maybe Berlin particularly sort of offers this opportunity for artists or for, as my friend always says idealists, to sort of really manifest the imagination. To find space for really playing out. Sort of ideas and imaginaries and creative explorations. And so I think being in Berlin for me has, you know, I really embraced that and really sort of feel like I thrive in that kind of cultural environment. And so having a space like this and locating oneself and, and in, in such a manner, which is like about a certain kind of privacy. But at the same time, having this relationship to the street. \n\n \n\nKatherine:\n\nMm-Hmm. <Affirmative> \n\n \n\nBrandon: \n\n– and having an address where others can enter. And so I think this open door, and this kind of threshold, public and private, is really also something I try to integrate or learn from through my practice. So maybe we are hearing that open door. \n\n \n\nKatherine McLeod:\n\nYeah. I’m very aware of both the sounds of our voices in the space. Like if I slightly move my foot, feeling like the texture of the floor and the sounds like going up to the high ceilings, but also, but I’m so aware in this sort of beautiful kind of echo of the space, the sounds from of outside coming in, that sound of the bird or the cars passing and voices. And so yeah, I think that the, the door is where we are listening to the door <laugh>, and and it’s doing something very powerful right there, a car is passing. And there’s also something too about even seeing, looking around and seeing the, the books now seeing CDs as well the books from the press behind you, it feels like we’re, we’re kind of listening to that too as well in simply sort of by their presence here.\n\n \n\nBrandon LaBelle (09:02):\n\nYeah, that’s true. I know that often people enter and also really enjoy that material – being sort of enveloped in that kind of material of books and, and documents and media. That becomes very immediately enticing, and evocative. And so I kind of also appreciate that as a, yeah. As also a creative expression in itself. So for instance, these binders over here are a set of, they came out of a, a project I developed called The Other Citizen, and they were part of like, almost like an archival installation I made at Transmediale a few years ago. And they’re really designed, they’re like, each one is referencing a certain discursive framework. But they try to kind of be quite creative with how you sort of house or categorize knowledge. So they’re intentionally quite enticing as well, you know, in terms of what they suggest. And they’re kind of topics that come out of my own readings and my own activities, but also picking up from what is present around us in, in sort of current, current discussions or issues. So they’re, they’re inherently stray from a particular disciplinary structure and try to be more transversal and playful. \n\n \n\nKatherine:\n\n<Affirmative>.\n\n \n\nBrandon LaBelle (10:41):\n\nSo I think this also is part of what is present in the room. Mm-Hmm.\n\nSpeaker 4 (10:46):\n\n<Affirmative>. Yeah.\n\nBrandon LaBelle (10:47):\n\nThis relationship to knowledge and discourse is also sort of enlivening\n\nKatherine: \n\nYeah.\n\nBrandon LaBelle (10:54):\n\nSuggestive. Imaginative.\n\n \n\nKatherine: \n\nYeah, that just made me think when you said that of sort of dis – in thinking of disciplinary listening you know… it is a space that it’s hard to say, oh, this, you couldn’t say, you could look say on one shelf and be like, oh, okay, I see the discipline. Maybe, you know, sound studies. I’ve seen some titles there. But then as soon as you move to the next shelf, there’s another sort of disciplinary approach that’s very present. But also thinking again, of what this space is, where we are, where we are at the table what kind of disciplinary listening takes place here, which would feel quite different than on the shelf. \n\n \n\nBrandon LaBelle (11:38):\n\nYeah. This is the top shelf. Is the CDs.\n\n \n\nKatherine:\n\nYeah, yeah.\n\nBrandon LaBelle (11:44):\n\nA sort of particular format we came up with. Yeah. Which, which sort of takes the shape of the book more. Oh, may. Okay. Yeah. And they always kind of have this Yeah. Like an elaborated booklet inside. \n\nSo it was very much about keeping the idea of, of sound and sonic practice close to kind of discursive reflection. Right. Or textual Right. Matter as well. So that one would kind of read and listen or listen and read. So these things, bringing them close together, it’s quite important in that series. ’cause Sometimes, yeah. I mean, I guess there’s, there’s some, on some level there’s a kind of often a sort of idea that, you know, you have like a kind of community of practitioners often coming from an experimental music sort of arena that, you know, doesn’t necessarily relate itself to more academic informed investigations. And I always, I try to make this sort disregard this separation Mm-Hmm. <Affirmative>. And so practice in theory being very integrated feels really, you know, part of the room.\n\n \n\nSpeaker 4 (12:55):\n\nRight. Yeah. Yeah. yeah. Yeah. Do you see that as, say the, the word, the words like research creation that get sort of talked about a lot these days? Is that something that you, you, do you think of research creation as a framework that you work in? Or is that, is it sort of maybe something that you do but don’t think of it in that way…\n\n \n\nBrandon LaBelle (13:19):\n\nNo, it’s, it’s a good question. I mean, the other day we were having a meeting sort of study session, and everyone around the table really, we kind of realized at a certain moment that we all occupy this kind of artistic research framework and that feel quite comfortable in that, or sort of supported by that term. And I think there is something to that. And, and even though I don’t necessarily really forefront that as defining of my work I think it’s somehow in the background Yeah. It’s around. And I’m sure that I’m, I’m very much participating in those communities. More and more, of course, as they get more alive and present, and maybe as you also suggested, how these separations are also becoming more or less important or less clear between sort of art and academic, or between the book and the cd. \n\n \n\nKatherine McLeod:\n\nAnd certainly that’s, it’s been something that I’ve thought more about what research creation does in that the way in which SpokenWeb as a research network it has been attempting to sort of like activate archival materials or like, make, make things with them as whether in the case of the, the sort of the listening and making that I was talking about, or other kinds of, of sort of performative kind of curations that make things with archival materials. And so I think about how research creation is so important as academic work, and that it is indeed like it’s, it’s getting recognized as valid scholarship. Or even the podcast, it’s kind of a form of research creation in some way that you’re, you are you’re making something new and you’re making something that is often more creative that might not necessarily be following the same pathways as whatever the academic pathway, which often somehow gets defined as uncreative, which at the same time, it is creative too.\n\n \n\nSo it’s it’s almost a, a false, a false separation there between the, the research and creation to begin with. But, but it does feel like the there’s more support for that kind of work than, than there had been, or even, so even these, some of these formal categories help with that in some way, but yeah, that’s true. Yeah. But yeah, the just looking at the <laugh>, the collection here I was thinking that it would be beautiful to hear you read the opening to your piece, if you would be open to that. Sure. Because Sure. It is thinking as poetics a poetics of listening. It is a very poetic opening. And I thought, oh, to, to actually hear how you would voice that would be, would be a real a gift to use a word that is over there on the archival boxes. Let me turn, turn to it here – \n\n \n\nBrandon LaBelle:\n\nOkay… [Begins reading]  It has already begun… the time … the time-space… of… speaking… of speaking that moves itself… toward knowing nothing… something you… the use that arrives from the particularities… as the basis for a giving… enacting a rhythmic… of breath… breathing toward… away\n\n \n\n[Pause – music begins]\n\n \n\nKatherine McLeod (17:28):\n\nYou’ve been listening to ShortCuts. ShortCuts has been a monthly feature on the SpokenWeb podcast. It is now in its fifth season, and this may be the end of shortcuts, but who knows, there may still be shortcuts inspired Mini sos as short bonus content on the podcast feed. It is fitting that this is or could be the last episode of shortcuts. Shortcuts started as me alone recording short audio pieces as close and careful listenings to audio cut from spoken webs, archival collections. The first three seasons were quite solitary listenings, though they did make some long lasting connections with their listeners. The fourth and fifth seasons have been more and more social and live featuring conversations with spoken web researchers about archival clips of their choice and about their sound-based research. So it seemed like it could not be more fitting to conclude with a conversation with Brandon LaBelle as an expert listener, and within a space like Err Bodies press as a space of listening and a making. And to be far from the closet where I recorded so many episodes of shortcuts to be in Berlin.\n\n \n\nI edit this conversation back home in Montreal, and I record this voiceover from SpokenWeb’s podcast studio at Concordia. And as I think back over what shortcuts has made and the conversations it has sparked, I can’t help but be moved to do something that I love doing so much in shortcuts to listen again and again, and to let the sound speak for itself. And so with that, let’s listen once more to LaBelle’s reading from “A Poetics of Listening.” As I edited the audio of him reading, I noticed how he makes audible, the pauses in the text, the dot, dot dot, the ellipses. And I thought about how he rendered them in such a way that they invite a response in between the pauses. What if we listen to it like this?\n\n \n\n[Music ends]\n\n \n\nBrandon LaBelle (19:55):\n\n[Audio replays of LaBelle reading with voice overlaping – transcribed as heard] It has already begun. It has already – the time begun. The time-space, the time of the time space of speaking, that speaking moves itself, itself. Speaking that moves. Knowing nothing toward something, knowing nothing. You something. The uses that arrive from the, use the particularities as the basis particularities. A giving as the basis for a giving a rhythm, enacting breath, a rhythm, breathing toward breath away, breathing toward, away.\n\n \n\nKatherine McLeod (20:43):\n\nYou’ve been listening to ShortCuts. Thanks to Brandon for talking with me, amid the books and sounds of errant bodies. Press check the show notes for links to the press and to the Listening Biennal. ShortCuts is part of the SpokenWeb podcast. The podcast team is made up of supervising producer Maia Harris, sound designer, James Healy transcriber, Yara Ajeeb podcast co-hosts Hannah McGregor and me, Katherine McLeod. ShortCuts has been designed and produced by me, Katherine McLeod, and thanks to all who have joined me on it along the way. As always, thanks to you for listening.\n\n "],"score":1.9077375}]