Hosted by Zhejiang Sci-Tech University and Central China Normal University, Wuhan, China Co-sponsored by Chinese Department, Fudan University Center for English Literatures of Central China Normal University, Foreign Literature Studies (Journal) International Journal of Poetry and Poetics (Journal), and Foreign Language and Literature Research (Journal)
Editor Julia Bloch reviews four poetry titles that make us think differently about spaces both crowded and open, and histories both told and ready to be rewritten.
In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics. They work with sounds from instrumental hip hop, jazz, black spirituals, Japanese music, sound effects, and custom made dub plates (containing recorded readings by Compton. For Compton, the concept of schizophonophilia departs from the thinking of Canadian composer R. Murray Schafer’s similar term “schizophonia.” In "The Soundscape: Our Sonic Environment and the Tuning of the World," “schizophonia” describes “the split between an original sound and its electroacoustic reproduction” and is characterized as an “aberrational effect of the twentieth century.” The condition of schizophonia, for Schafer, arises in part from the increasing availability of audio recording technologies, which make it more possible for sound to travel away from its time and place of origin.
On the Thursday of the AWP Conference in Portland, OR, I skipped the long line for badges and made my way through the throngs of people chatting, milling purposefully, and sitting and sipping decent coffee along the corridor floors of the Oregon Convention Center to a panel titled “Vietnam is a Seven-Letter Word.” I was familiar with some of the writers presenting but not all of them, and I was intrigued by the description, which noted that “women of the Vietnamese diaspora [would] offer insight into how writers may elasticize and complicate definitions of one’s various assigned ‘identities’ and lend voice to the silenced, obscured, or overlooked.”
CAAP November 2019 in Hangzhou: CFP
The 8th International Conference of the Chinese/American Poetry and Poetics (CAAP)
Hangzhou, China / November 1-3, 2019
Hosted by
Zhejiang Sci-Tech University and
Central China Normal University, Wuhan, China
Co-sponsored by
Chinese Department, Fudan University
Center for English Literatures of Central China Normal University,
Foreign Literature Studies (Journal)
International Journal of Poetry and Poetics (Journal), and
Foreign Language and Literature Research (Journal)
Toward a poetry and poetics of the Americas (19)
From Roger Williams, 'A Key into the Language of America'
Selection & commentary by John Bloomberg-Rissman, in collaboration
Of Fowle.
(New England, 1643)
Modern myths and topographies
Julia Bloch
Editor Julia Bloch reviews four poetry titles that make us think differently about spaces both crowded and open, and histories both told and ready to be rewritten.
'Schizophonophilia'
Wayde Compton and Jason de Couto, The Contact Zone Crew
In their poetic experiments with electroacoustic technologies, Wayde Compton and Jason de Couto — known as The Contact Zone Crew — advance what Compton has called schizophonophilia: “the love of audio interplay, the pleasure of critical disruptions to natural audition, the counter-hegemonic affirmation that can be achieved through acoustic intervention.”[1] As an audio poetry project, Compton and de Couto realize schizophonophilia by using sampling and mixing as the core of their poetics. They work with sounds from instrumental hip hop, jazz, black spirituals, Japanese music, sound effects, and custom made dub plates (containing recorded readings by Compton. For Compton, the concept of schizophonophilia departs from the thinking of Canadian composer R. Murray Schafer’s similar term “schizophonia.” In "The Soundscape: Our Sonic Environment and the Tuning of the World," “schizophonia” describes “the split between an original sound and its electroacoustic reproduction” and is characterized as an “aberrational effect of the twentieth century.” The condition of schizophonia, for Schafer, arises in part from the increasing availability of audio recording technologies, which make it more possible for sound to travel away from its time and place of origin.
On the 'Vietnam is a Seven-Letter Word' Panel at AWP
On the Thursday of the AWP Conference in Portland, OR, I skipped the long line for badges and made my way through the throngs of people chatting, milling purposefully, and sitting and sipping decent coffee along the corridor floors of the Oregon Convention Center to a panel titled “Vietnam is a Seven-Letter Word.” I was familiar with some of the writers presenting but not all of them, and I was intrigued by the description, which noted that “women of the Vietnamese diaspora [would] offer insight into how writers may elasticize and complicate definitions of one’s various assigned ‘identities’ and lend voice to the silenced, obscured, or overlooked.”