• “Machine-Aided Close Listening: Prosthetic Synaesthesia and the 3D Phonotext.” Digital Humanities Quarterly. Forthcoming.
  • Close Listening assistée par machine.” Book chapter in Les Archives Sonores de la poésie,” Les presses du réel. Forthcoming 2018.
  • “Vachel Lindsay.” Invited contribution to the Encyclopedia of the Bible and Its Reception. De Gruyter Press. 2017.
  • “Les archives sonores de la poésie – production – conservation – utlisation.” Transatlantica. 2017.
  • Plural Imperative Reader, coeditor, with Michael Nardone and Danny Snelson. Created for gallery show at Printed Matter, curated by Craig Dworkin, Simon Morris, and Nick Thurston. December 2016.
  • “Heart Murmur: Prosodic Mimesis in Melvin Dixon’s ‘Heartbeats.’” The Explicator. May 2016.
  • “Vachel Lindsay and The W. Cabell Greet Recordings.” Chicago Review. May 2016.
  • “Sur/Dans/Par Rature: The Quest for Media’s Vanishing Point in Crag Dworkin’s No Medium” (Book Review). The Volta Blog. May 16, 2016.
  • James Weldon Johnson and The Speech Lab Recordings.” Oral Tradition. March 2016.
  • Editor, Robert Frost: The Speech Lab Recordings, previously unreleased audio of Robert Frost reading his poetry in 1933 and 1934.
  • “’La parole au timbre juste’: Apollinaire, poetry audio, and experimental French phonetics.” Jacket2 Magazine. December 30, 2015.
  • “Carl Sandburg and the Early Poetry Audio Archive.” Solicited by Inklings & Idlings, published by the Carl Sandburg Historic Site. Summer 2015.
  • “The Noise is the Content: Toward Computationally Determining the Provenance of Poetry Recordings.” Jacket2 Magazine. January 10, 2015.
  • “Joris, Jazz, and Experimental Writing: A book review of Pierre Joris’ Meditations on the Stations of Mansur al-Hallaj.” Notre Dame Review. February 2015.
  • “Re-Rhythm: Jerome McGann’s Modern Reading of Poe’s ‘Annabel Lee.’” The Volta Blog. January 2015.
  • Editor, James Weldon Johnson: The Speech Lab Recordings, December 24, 1935 at Columbia University, an audio collection of nearly event extant recording of James Weldon Johnson reading his poetry. Released November 2014 in PennSound.
  • Editor, Harriet Monroe: The W. Cabell Greet Recordings, January 1932 at Columbia University, an audio collection of nearly every recording of Harriet Monroe reading her poetry. Released October 2014 in PennSound.
  • Editor, The W. Cabell Greet Recordings: Vachel Lindsay’s Reading at Columbia University in 1931, an audio collection of every extant recording of Lindsay reading his work. Released June 2014 in PennSound.
  • “Provenance Report: William Carlos Williams’ 1942 Recording for the National Council of Teachers of English.” Jacket2 Magazine. An essay on the provenance of the first recordings of William Carlos Williams. May
  • “Aural Dialectics: On Allen Ginsberg’s Musical Rendition of Blake’s Songs of Innocence and Experience.” Empty Mirror. May 2014.
  • “Charles Reznikoff’s ‘During the Second World War…’ as Objectivist Ars Poetica.” Empty Mirror. March 2014.

Machine-Aided Close Listening

Check out the prototypes of these tools for Machine-Aided Close Listening, a reading-listening methodology that seeks to align the visual forms of poems with their sonic forms. Article on this topic forthcoming in Digital Humanities Quarterly. These tools were developed with Reuben Wetherbee and my research assitant Zoe Stoller.

* Robert Creeley's "I Know a Man"
* Robert Frost's "Mending Wall"
* Comparative tool for William Carlos Williams' "To Elsie"