John Richetti recently returned to PennSound’s studios and recorded a selection of poems by Keats, Shelley, Blake, Wordsworth, Byron, and Coleridge. Here is a link to the new page in the “PennSound classics” section of the archive.
A new Kelly Writers House podcast is now out (#36 in our ongoing series). In this podcast, we hear an excerpt from an artist's talk by Francie Shaw, whose show was exhibited in our Brodsky Gallery in the late autumn of 2013. For more about the event, click here. To listen to the podcast, introduced by Allison Harris, click here. For a video recording of the full event, click here.
We at PennSound are beginning to analyze quantities and types of downloads from our archive. From time to time we will have something to say about what we discern in such analysis. For now, this fascinating and not-quite-explainable factoid: since January 1, 2014, one of the five most-oft downloaded MP3 recording from PennSound has been a poem by Michael Palmer, performed at Buffalo in 1990: “Recursus to Porta” (3:34): MP3. And the poet whose PennSound recordings were most frequently downloaded during this time has been Norman Fischer.
Through ARLO (Adaptive Recognition with Layered Optimization), enabled by the HiPSTAS (High Performance Sound Technologies for Access and Scholarship) project headquartered at the Information School of the University of Texas at Austin, I sought to visualize the later passages of Charles Bernstein's chanted/screamed list or counting poem, “1 to 100” (1969). Thanks to Chris Mustazza, Tanya Clement, David Tcheng, Tony Borries, Chris Martin, and others, I am finally learning how to use ARLO to some rudimentary effect. Every single PennSound recording is now available in a test space to which ARLO can be applied by researchers, including myself, associated with the project. We are just beginning. HiPSTAS has received two NEH grants to make all this possible, and PennSound is a founding archival partner.
Back in 2006, when the Modern Language Association conference was held in Philadelphia, Nick Montfort joined twenty-seven other poets for the annual “MLA Offsite Series” reading. Each poet read very briefly, typically just one poem. Nick chose to perform “I Icing Sing.” The constraint is a phonetic one. Each stanza consists of many pairs of syllables that sound very alike, as in “eye eye sing sing.” So the beginning reads:
eye eye sing sing but but er er up up right right in in joy joy
— and here is how those sounds become words in the first two lines:
I icing sing — but butter her up upright, right in. Enjoy joy.
The poem was published in CrossConnect magazine and can be found here. And here is the recording of the poem made at the MLA reading. The recording of the entire event can be found here.