Michael Nardone

Posted on 2015/03/02 by

Submissions Are Blind

Griffin Prize (Canadian) 2015 – Judges: All White, Winner TBD 2014 – Shortlist: All White, Winner: White, Judges: All White 2013 – Shortlist: 2/3 White, Winner: White, Judges: 2/3 White 2012 – Shortlist: All White, Winner: White, Judges: All White 2011 – Shortlist: 2/3 White, Winner: Non-White, Judges: All White 2010 – Shortlist: All White, Read More

Posted on 2015/01/19 by

A Sound Studies Reading List

Throughout these last weeks of getting together with friends during the holidays, the MLA convention in Vancouver, and working out the initial stages of an extensive archival project concerning Canadian poetry recordings (of which I’ll be posting news here soon), it seems I’ve been in an ongoing dialogue about sound. One thing that has come up in all of these dialogues Read More

Posted on 2015/01/19 by

Fugitive Sound

The following is an excerpt from the middle of my paper “Fugitive Sound: The Phonotext and Critical Practice,” read at the MLA convention in Vancouver, for the panel Weird Media. –Michael Nardone + In regard to poetry and poetry criticism, we’re in a moment of considerable or growing interest in and engagement with poetry phonotexts produced in Read More

Posted on 2014/07/23 by

Remarks on “Writing voices speaking”

Remarks on Kimberly M. Blaeser’s “Writing voices speaking: Native authors and an oral aesthetic” + What follows are informal talking notes for a discussion of the reading above for Editing Modernism in Canada’s summer institute: Creative and Critical Remediations, UBC–Okanagan, 23 July 2014. + Before I begin these remarks on Blaeser’s “Writing voices speaking,” I’d Read More

Posted on 2014/05/27 by

Remarks on ARLO

Initial remarks for the second gathering of the High Performance Sound Technologies for Access and Scholarship institute at the University of Texas at Austin, May 27-28, 2014. === Given my position in today’s proceedings and the specificity of the papers that follow, I thought I might transition from Tanya to begin the morning’s papers with Read More

Posted on 2013/08/31 by

Jackson Mac Low: Soundscape and Phonocritical Practice

This week I’m finally collecting the various threads of notes I’ve been making throughout the summer on Jackson Mac Low, the soundscape of his 1971 Montreal reading/performance, and the critical strategies of working with recorded materials that his performance makes audible. I feel as though I could take another three months on these subjects, as Read More

Posted on 2013/07/20 by

The ‘Pataque(e)rical Imperative

How do deviations from the norm provide an important foundation for radical invention and improvisation in contemporary poetry? Acclaimed poet and scholar Charles Bernstein makes a strong case for the importance of the exception. Bernstein’s talk explores how the process of swerving away from expected trajectories is necessary for radical improvisation and the invention of Read More

Posted on 2013/07/19 by

2013-07-19 ARLO Visualization (1)

This past week, in thinking about the soundscape in terms of the poetry reading and the poetry phonotext, I went back to look at some of the initial information I compiled during the High Performance Sound Technology For Access and Scholarship (HiPSTAS) Institute at the University of Texas at Austin at the end of May. Read More

Posted on 2013/07/06 by

2013-07-05 – Petrocapital Ambient Soundtrack

“When power founds its legitimacy on the fear it inspires, on its capacity to create social oder, on its univocal monopoly of violence, it monopolizes noise.” -Jacques Attali These last two weeks, I’ve been reading on themes of the soundscape, noise, and sonic weaponry. As part of my final directed study with Professor Kay Dickinson, Read More

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