Meza Valdez, Aurelio (2020) Sound Works: Prototyping a Digital Audio Repository for Sound Poetics in Mexico. PhD thesis, Concordia University.
Preview |
Text (application/pdf)
4MBMezaValdez_PhD_F2020.pdf - Accepted Version Available under License Creative Commons Attribution Non-commercial Share Alike. |
Abstract
This dissertation reflects on the prototyping process carried out for creating and developing the PoéticaSonora’s digital audio repository, focused on storing, editorializing and disseminating works of sound art and poetry readings produced or recorded in Mexico since 1960. While describing the theoretical, technical, and methodological implications at stake in the design, deployment, and refactoring of the PoéticaSonora prototype (PSP), this dissertation speculates on how experimentation and a hands-on approach to sound recordings are essential for advancing fieldwork-based research in the humanities, particularly literary criticism. The notions of voice, inscription, and instrumentality, discussed in depth throughout this work, are essential for constructing a sound-oriented approach to poetry and sound art with the aid of digital tools such as the ones offered by the PSP.
After a brief panorama reviewing the many artistic scenes and genres that are present in the PSP, the Introduction frames the project’s importance for both gathering and discerning artistic tendencies in Mexico that have not been properly analyzed by text-oriented approaches to literary criticism. Chapter 1 proposes a decolonial approach on how to establish a duly horizontal dialogue around digital audio repositories in Canada and Mexico. It also delineates the necessary conditions met by PoéticaSonora to design a workflow respecting the features of artistic communities, cultural institutions, and private collectors who contribute to the PSP. After a close analysis to the prototype’s data schema and its design, deployment, and refactoring phases, Chapter 2 discusses how the restraints of database management systems both affected and modified the theoretical and methodological approach followed by the PoéticaSonora team. Chapter 3 focuses on a case study of how women vocal artists in Mexico City use and share sample-looping techniques among each other, as an example of how fieldwork contributed to fix problems in the data schema discussed in Chapter 2, such as the distinction between individual artists and collectives, between singing and reciting voice, and in the use of instruments, apart from their own voices. The epilogue discusses the necessary steps to develop the PoéticaSonora Beta version, as well as to host it in a definitive server with all the institutional, administrative, and political implications this will have on the project as a whole.
References:
Akrich, M. (1992). The De-Scription of Technical Objects. In W. Bijker, & J. Law (Eds.), Shaping Technology, Building Society: Studies in Sociotechnical Change (pp. 205-224). Cambridge, MA: MIT Press.Alcántara Carbajal, I. (2018, October). ¿Es la voz conciencia, identidad y compromiso? Notas sobre el encuentro de voces orquestado por Hebe Rosell. Retrieved November 22, 2019, from PoéticaSonora: https://poeticasonora.mx/Es-la-voz-conciencia-identidad-y-compromiso
Alcántara Carbajal, I. (2019, March). Discurso, voz, identidad y presencia de las ‘Mujeres en su lengua:’ escena actual del spoken word y slam de la Ciudad de México a través del oído de Cynthia Franco. Retrieved October 28, 2019, from PoéticaSonora: https://poeticasonora.mx/Discurso-voz-identidad-y-presencia-de-las-MesL
Ansón, A. (2006). Poesía y música. In A. Ansón (Ed.), Cómo leer un poema. Estudios interdisciplinares (pp. 213-248). Zaragoza: Prensas Universitarias de Zaragoza.
Arita, A., & García, E. (2017, November 18). Interview for PoéticaSonora. (A. Meza, Interviewer) Mexico City.
Ashcroft, B., Grifiths, G., & Tiffin, H. (2003). The Empire Writes Back: Theory and Practices in Postcolonial Literatures (2nd ed.). New York: Routledge.
Bachimont, B. (2017). Patrimoine et numérique: technique et politique de la mémoire. Paris: INA.
Barrett, B. (2016, July 30). The VCR Is Officially Dead, But We’ll Never Forget It. Wired. Retrieved November 10, 2019, from https://www.wired.com/2016/07/vcr-officially-dead-well-never-forget/
Baumgärtel, T. (2015). Schleifen: Zur Geschichte und Ästhetik des Loops. Berlin: Kadmos.
Bernabé Pajares, A. (1979). Fragmentos de épica griega arcaica. Madrid: Gredos.
Bernstein, C. (1998). Introduction. In C. Bernstein (Ed.), Close Listening: Poetry and the Performed World (pp. 4-26). New York/Oxford: Oxford University Press.
Bernstein, C. (2009a). Making Audio Visible: The Lessons of Visual Language for the Textualization of Sound. Textual Practice, 23(6), 959-973. doi:http://dx.doi.org/10.1080/09502360903361550
Bernstein, C. (2015, April 15). Conversación con Charles Bernstein. Poesía en Voz Alta Festival. (S. González Aktories, & M. A. Giovine, Interviewers) Laboratorio de Literaturas Extendidas y Otras Materialidades. Mexico City. Retrieved May 19, 2019, from http://laboratorioextendido.dropmark.com/150515/4649896
Bey, H. (2001 [1985]). The Temporary Autonomous Zone. In P. Ludlow (Ed.), Crypto Anarchy, Cyberstates, and Pirate Utopias (pp. 401-434). Cambridge, MA: MIT Press.
Birdsall, C., & Enns, A. (2008). Introduction. In C. Birdsall, & A. Enns (Eds.), Sonic Mediations: Body, Sound, Technology (pp. 1-9). Newcastle, UK: Cambridge Scholars Publishing.
Bourdieu, P. (1993). The Production of Belief: Contribution to an Economy of Symbolic Goods. In R. Johnson (Ed.), The Field of Cultural Production: Essays on Art and Literature (pp. 74-111). Cambridge, MA: Polity Press.
Bourdieu, P. (1996). The Emergence of a Dualist Structure. In The Rules of Art. Genesis and Structure of the Literary Field (S. Emmanuel, Trans., pp. 113-140). Stanford: Stanford University Press.
Bringas Nosti, R. (2008). La regeneración de un pueblo pestilente: la anexión de México a Estados Unidos, 1946-1948. Mexico City: Miguel Ángel Porrúa.
Brooks, F. (1975). The Mythical Moth-Man: Essays on Software Engineering. Reading, MA: Addison-Wesley Publishing.
Bulatov, D. (Ed.). (2004). Homo Sonorus: Una antología internacional de poesía sonora. Mexico City: Conaculta.
Butler, M. J. (2014). Playing with Something that Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. New York/Oxford: Oxford University Press.
Cabrera, A. (2017, February). Relatoría de consulta para la investigación del acervo sonoro en el Centro de Documentación Príamo Lozada del Laboratorio Arte Alameda. Retrieved February 8, 2019, from PoéticaSonora: https://poeticasonora.mx/Relatoria-de-consulta-para-inv-de-acervo-sonoro-en-el-Centro-de-Doc
Cabrera, A., Jimeno, J., Medina, A., & Meza, A. (2019, January). Una escucha distante de los Rojo eSlams en el Centro de Cultura Digital. Retrieved April 14, 2019, from PoéticaSonora: https://poeticasonora.mx/Una-escucha-distante
Camlot, J. (2012). The Sound of Canadian Modernisms: The Sir George Williams University Poetry Series, 1966-74. Journal of Canadian Studies, 46(3), 28-59.
Camlot, J., & Wershler, D. (2015). Theses on Discerning the Reading Series. Amodern, 4. Retrieved October 7, 2019, from http://amodern.net/article/theses-reading-series/
Cassin, B. (2018). Google Me: One-Click Democracy. (M. Syrotinski, Trans.) New York: Fordham University Press.
Castells, M. (2005). The Network Society: A Cross-Cultural Perspective. Cheltenham: Edward Elgar.
Caudillo, A. (2017, February). Relatoría de consulta e investigación del acervo sonoro en Casa del Lago Juan José Arreola, UNAM. Retrieved February 8, 2019, from PoéticaSonora: https://poeticasonora.mx/Relatoria-de-consulta-e-investigacion-del-acervo-sonoro-en-Casa-del
Cerón, R. (2016a, June 23). Interview for PoéticaSonora. (S. González Aktories, C. García Leyva, M. Giovine, & A. Meza, Interviewers) Mexico City.
Cerón, R. (2016b). Poesía y acción. In La rebelión, o mirar el mundo hasta pulverizarse los ojos (pp. 123-127). Monterrey: UANL.
Cerón, R., & De la Garza, A. (2015). Enclave: poesía en diálogo. In R. Cerón (Ed.), Enclave: poesías experimentales (pp. 7-10). Mexico City: EBL Intersticios/Conaculta.
Chivallon, C. (2016). Between History and its Trace: Slavery and the Caribbean Archive. Social Anthropology/Anthropologie Sociale, 24(1), 67-81. doi:10.1111/1469-8676.12280
Chun, W. H.-K. (2008). The Enduring Ephemeral, or the Future Is a Memory. Critical Inquiry(35), 148-171.
Chun, W. H.-K. (2011). Programmed Visions. Cambridge, MA: MIT Press.
Clement, T. (2013). Distant Listening or Playing Visualisations Pleasantly with the Eyes and Ears. Digital Studies/Le champ numérique, 3(2). doi:http://doi.org/10.16995/dscn.236
Clement, T. (2016a). When Texts of Study are Audio Files. In S. Schreibman, R. Siemens, & J. Unsworth (Eds.), A New Companion to Digital Humanities (pp. 348-357). Chichester, UK: Wiley.
Clement, T., & McLaughlin, S. (2015, October 18). Visualizing Applause in the Pennsound Archive. Retrieved February 8, 2019, from Jacket2: https://jacket2.org/commentary/clement-mclaughlin-pennsound-applause
Codd, E. F. (1970). A Relational Model of Data for Large Shared Data Banks. Communications of the ACM, 13(6), 377-387.
Córdova, R. (2013). Si hace boom y hace crack, hace ¡slam! In R. Córdova (Ed.), eSLAMex. Primera antología de espoken word mexicano (pp. 7-20). Tijuana/Mexico City: Kodama Cartonera/(H)onda Nómada Ediciones.
Córdova, R. (2018, September 20). Rojo-testimonios sobre el poetry slam mexa. Vagabunda. Retrieved November 3, 2019, from http://www.vagabunda.mx/rojo-testimonios-sobre-el-poetry-slam-mexa
Cruz Arzábal, R. (2015). Tecnologías de lo múltiple: Motín Poeta y la intermedialidad colectiva. In R. Cerón (Ed.), Enclave: Poéticas experimentales (pp. 128-136). Mexico City: EBL Intersticios/Conaculta.
Cuacuas, V. (2018a, June 22). Interview for PoéticaSonora. (A. Meza, Interviewer) Mexico City.
Cuacuas, V. (2018b, February 13). Spoken Word Mx presenta: Entrevista con Victoria Cuacuas. (E. García, Interviewer) Diosaloca MX. YouTube, San Cristóbal de las Casas. Retrieved November 28, 2019, from https://www.youtube.com/watch?v=lCiB0tiLtDY
Cuacuas, V. (2018c, February 13). Spoken Word y Live Looping: El canto es un gran poder. (E. García, Interviewer) Diosaloca MX. YouTube, San Cristóbal de las Casas. Retrieved April 1, 2019, from https://www.youtube.com/watch?v=9byq1kryVVU
Dao, G. (2018, April 2). Spoken Word MX presenta: entrevista con Gran Dao. (E. García, Interviewer) Retrieved December 18, 2019, from https://www.youtube.com/watch?v=TEmuXI7OkRE
Dávila, A. G. (2019, May). Vivas nos queremos: voces femeninas y su presencia musical en la escena del hip-hop y otros géneros en México. Retrieved October 28, 2019, from PoéticaSonora: https://poeticasonora.mx/Vivas-nos-queremos-voces-femeninas-y-su-presencia-musical-en-la
DCMI. (2009, May 18). Guidelines for Dublin Core Application Profiles. Retrieved November 1, 2019, from Dublin Core: https://www.dublincore.org/specifications/dublin-core/profile-guidelines/
Dolar, M. (2006). A Voice and Nothing More. Cambridge, MA: MIT Press.
Doyle, P. (2005). Echo & Reverb: Fabricating Space in Popular Music Recording, 1900-1960. Middletown, CT: Wesleyan University Press.
Drucker, J. (2009). Speclab: Digital Aesthetics and Projects in Speculative Computing. Chicago: The University of Chicago Press.
Drucker, J. (2015, October 9). From speculation to skepticism: is there a(n intellectual) future for Digital Humanities? Montreal: Media History Research Centre, Concordia University. Retrieved December 1, 2019, from https://soundcloud.com/m-nardone/drucker_digital_humanities
Dutton, P. (2002). Sound Poetry. In W. H. New (Ed.), Encyclopedia of Literature in Canada (pp. 1060-1061). Toronto: University of Toronto Press.
Eno, B. (1979). The Studio as Compositional Tool. Downbeat. Retrieved October 27, 2019, from http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
Ernst, W. (2013). Digital Memory and the Archive. Minneapolis: University of Minnesota Press.
Escobar, A. (2003). ‘Mundos y conocimientos de otro modo:’ El programa de investigación de modernidad/colonialidad latinoamericano. (E. Restrepo, Trans.) Tabula Rasa(1), 51-86.
Fantinatto, R. (Director). (2014). I Dream Of Wires [Motion Picture]. Canada: Netflix. Retrieved May 4, 2019, from http://www.netflix.com/title/80057772
Filreis, A. (2015). Notes on Paraphonotextiality. Amodern(4). Retrieved April 28, 2019, from http://amodern.net/article/paraphonotexuality/
Flannagan, A. (2017, May 11). The MP3 Is Officially Dead, According To Its Creators. NPR. Retrieved November 10, 2019, from https://www.npr.org/sections/therecord/2017/05/11/527829909/the-mp3-is-officially-dead-according-to-its-creators
Flores, E. (2016, August 19). Primer encuentro de archivos de poesía y arte sonoro. Retrieved September 10, 2019, from CCD Radio on Soundcloud: https://soundcloud.com/ccd-radio/1er-encuentro-de-archivos-de-poesia-y-arte-sonoro
Folsom, E. (2007). Database as Genre: The Epic Transformation of Archives. PMLA, 122(5), 1571-1579.
Fong, D. (2015). Spoken, Word: Audio Textual Relations in UbuWeb, Pennsound, and SpokenWeb. Amodern, 4. Retrieved September 10, 2019, from http://amodern.net/article/spoken-word/
Fowler, M., & Beck, K. (2019). Refactoring: Improving the Design of Existing Code (2nd. ed.). Boston: Addison-Wesley.
Franco, C. (2019, March). Mujeres en su lengua. Retrieved October 28, 2019, from PoéticaSonora: https://poeticasonora.mx/Mujeres-en-su-lengua
Franklin, U. (1999). The Real World of Technology. Toronto/Berkeley: House of Anansi Press.
Fraunhofer Institute. (2017, April 23). MP3 > Overview. Retrieved from Fraunhofer IIS: https://www.iis.fraunhofer.de/en/ff/amm/consumer-electronics/mp3.html
Fuss, D. (1995). Identification Papers. New York: Routledge.
Galina Rusell, I. (2009). Electronic Resources and Institutional Repositories in Informal Scholarly Communication and Publishing. Doctoral dissertation. London: University College London.
Galloway, A. (2011). What is New Media? Ten Years after The Language of New Media. Criticism, 53(3), 377-384.
Galperín, H., & Viecens, M. F. (2016). Teoría y evidencia acerca de la relación entre internet y la reducción de la pobreza. In H. Galperín, & J. Mariscal (Eds.), Internet y pobreza: evidencia y nuevas líneas de investigación para América Latina (pp. 21-44). Mexico City: CIDE.
García, E. (2010). El Red Bitch Project. Mexico City: Self-published.
García, E. (2011). Chilanga habla. Mexico City: Self-published.
García, E. (2011, July 27). Chilanga Habla [Presentación nuevo poemario]. (J. L. Romero, Interviewer) José Lalo Romero’s channel. Youtube, Mexico City. Retrieved April 28, 2019, from https://www.youtube.com/watch?v=rinZxmDGGtI
García, E. (2012, February 5). Entrevista a Edmeé García ‘Diosa Loca’. (A. Meza, Interviewer) Mexico City.
García, E. (2016 [2012]). Bombón vudú. Mexico City: DiosaLocaMX.
García, E. (2016, February 7). Interview for PoéticaSonora. (A. Meza, Interviewer) Skype. Mexico City/Montreal.
García, E. (2016). Respira poesía: seis poemas en tres lenguas. (J. Raya, E. García, & D. Da Purificação, Trans.) Mexico City: DiosaLocaMX.
Garraway, D. (2005). The Libertine Colony: Creolization in the Early French Caribbean. Durham: Duke University Press.
Geertz, C. (1973). Thick Description: Toward an Interpretive Theory of Culture. In The Interpretation of Culture: Selected Essays (pp. 3-30). London: Hutchinson.
Giménez, G. (2004). Culturas e identidades. Revista Mexicana de Sociología, 66(Special Issue), 77-99. Retrieved from http://www.jstor.org/stable/3541444
Gitelman, L. (1999). Scripts, Grooves, and Writing Machines: Representing Technology in the Edison Era. Stanford: Stanford University Press.
Gitelman, L. (2006). Always Already New: Media, History, and the Data of Culture. Cambridge, MA: MIT Press.
Glissant, É. (1990). Poétique de la Relation. Paris: Gallimard.
Glissant, É. (1997). Poetics of Relation. (B. Wing, Trans.) Ann Arbor: The University of Michigan Press.
Glissant, É. (1999 [1989]). National Literatures. In Caribbean Discourse: Selected Essays (J. M. Dash, Trans.). Charlottesville: The University Press of Virginia.
Goddard, L., & Morrison, J. (2016, June 12). Digital Preservation Basics. Workshop, Digital Humanities Summer Institute. Victoria, BC: Universitry of Victoria.
González Aktories, S. (2017a, February). Aproximación a la colección Voz Viva de la UNAM. Retrieved February 8, 2019, from PoéticaSonora: http://poeticasonora.mx/Voz-Viva
González Aktories, S. (2017b, November). Del coleccionismo como afición a la apuesta por la visibilización de las “voces que dejan huellas”. Retrieved September 11, 2019, from PoéticaSonora: https://poeticasonora.mx/Del-coleccionismo-como-aficion-a-la-apuesta-por-la-visibilizacion-de
González Aktories, S. (2019a). La dimensión sonora de la poesía y su relación con la figura autoral: un acercamiento a partir de ‘Agua de bordes lúbricos’ leído por Coral Bracho de viva voz. In A. de Teresa Ochoa (Ed.), Horizontes teóricos y críticos en torno a la figura autoral contemporánea (pp. 251-295). Mexico City: UNAM. Retrieved August 26, 2019, from http://hdl.handle.net/10391/7505
González Aktories, S. (2019b). Ecos vibrantes: desarrollo del spoken word en el marco de las poéticas sonoras actuales en la Ciudad de México. MatLit: Materialidades da Literatura/Materialities of Literature, 7(1), 197-216. doi:10.14195/2182-8830_7-1_11
González Aktories, S. (2019c). Poéticas sonoras: constelación y momento de una comunidad en potencia. In M. Quijano Velasco, R. Cruz Arzábal, E. Santangelo, & A. Velázquez Soto (Eds.), Literaturas en México (1994-2018). Poéticas e intervenciones (pp. 61-109). Mexico City: UNAM. Retrieved June 16, 2020, from http://ru.atheneadigital.filos.unam.mx/jspui/handle/FFYL_UNAM/1067
González Aktories, S., & Meza, A. (n.d.). Logros y retos del Repositorio Digital en Audio del proyecto PoéticaSonoraMX a cinco años de su creación. In P. O. Rodríguez Reséndiz (Ed.), Creadores de memoria: los archivos sonoros y audiovisuales en México. México: UNAM.
González Aktories, S., Meza, A., Medina, A. C., & Villanueva, S. (2017, February). Aproximación al acervo de la Fonoteca Nacional. Retrieved February 8, 2019, from PoéticaSonora: https://poeticasonora.mx/Aproximacion-al-acervo-de-la-Fonoteca-Nacional
Goodman, S., Heys, T., & Ikonidau, E. (Eds.). (2019). Unsound: Undead. Cambridge, MA/London, England: Urbanomic.
Grosfoguel, R. (2016). Del ‘extractivismo económico’ al ‘extractivismo epistémico’ y al ‘extractivismo ontológico:’ una forma destructiva de conocer, ser y estar en el mundo. Tabula Rasa(24), 123-143.
Hall, S. (1997a). The Spectacle of the ‘Other’. In S. Hall (Ed.), Representation: Cultural Representations and Signifying Practices (pp. 223-290). London: Open University.
Hall, S. (1997b). The Work of Representation. In S. Hall (Ed.), Representation: Cultural Representations and Signifying Practices (pp. 15-62). London: Open University.
Hannigan, L. (2015). The Critical Archive: A Textual Analysis of the Spokenweb Project. Major research project. Montreal: Concordia University.
Hannigan, L., Meza, A., & Flamenco, A. (2018). Reading Series Matter: Performing the SpokenWeb Project. In J. Sayers (Ed.), Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Debates in the Digital Humanities Series (pp. 198-204). Minneapolis: University of Minnesota Press.
Haraway, D. (1991). A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century. In Simians, Cyborgs, and Women: The Reinvention of Nature (pp. 149-181). London: Free Association Books.
Herbert, J. (2009, February). Technopaegnia y poesía. Letras Libres, 102-104.
Hernández Incháustegui, Ó., Ocejo, G., Román, R., Sosa, J., Vásquez, A., & Zúñiga Naime, Á. (2017, August 27). Interview for PoéticaSonora. (A. Meza, Interviewer) State of Mexico.
Huelstrunk, D. (2014, February 2). “When Repetition Stops, You’re Dead.” The Sound Poetry Loops of Dirk Huelstrunk. (M. Schmidt, Interviewer) Augsburg, Germany: Atemwerft. Retrieved April 14, 2019, from https://atemwerft.wordpress.com/2014/02/02/dirk-huelstrunk/
Hunter, A. (2015). The Digital Humanities and Democracy. Canadian Journal of Communication, 40(3), 407-423.
Ibarra Cuesta, J. (2012). De súbditos a ciudadanos: el proceso de formación de las comunidades criollas del Caribe hispánico (Cuba, Puerto Rico y Santo Domingo) Tomo I, siglos XVII-XIX. Santo Domingo, Dominican Republic: Archivo General de la Nación.
Iglesias Prieto, N. (1997). Beautiful Flowers of the Maquiladora: Life Histories of Women Workers in Tijuana. (M. Stone, & G. Winkler, Trans.) Austin: University of Texas Press.
INEGI. (2014). Estadísticas sobre disponibilidad y uso de tecnologías de la información y comunicaciones en los hogares, 2013. Aguacalientes: Instituto Nacional de Estadística y Geografía.
INEGI. (2015-2018). Información general - Disponibilidad y uso de TIC. Encuesta nacional sobre disponibilidad y uso de TIC en Hogares. Aguascalientes: INEGI. Retrieved May 30, 2019, from https://www.inegi.org.mx/temas/ticshogares/default.html#Informacion_general
Jenstad, J., & Takeda, J. (2017). Making the RA Matter: Pedagogy, Interface, and Practices. In J. Sayers (Ed.), Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Debates in the Digital Humanities Series (pp. 71-85). Minneapolis: University of Minnesota Press.
Josuelfo. (2018, February 19). Josuelfo: spoken word, lengua de señas y artes circences. (E. García, Interviewer) Spoken Word MX. YouTube, Mexico City. Retrieved November 3, 2019, from http://spokenword.mx/2018/02/19/entrevista-con-josuelfo-spoken-word-lengua-de-senas/
Khonde, E. (2013). En la batalla de versos. In R. Córdova (Ed.), eSLAMex. Primera antología de espoken word mexicano (pp. 25-26). Tijuana/Mexico City: Kodama Cartonera/(H)onda Nómada Ediciones.
Lander, E. (1993). Ciencias sociales: saberes coloniales y eurocéntricos. In E. Lander (Ed.), La colonialidad del saber: eurocentrismo y ciencias sociales, perspecticas latinoamericanas (pp. 3-40). Buenos Aires: CLACSO.
Laplantine, F. (2001). Dehors. In F. Laplantine, & A. Nouss (Eds.), Métissages : de Arcimboldo à zombi (pp. 192-198). Paris: Pauvert.
Latour, B. (2008). Reassembling the Social: An Introduction to Actor-Network Theory. Oxford: Oxford University Press.
Leñero, C. (2006). El caracol sonoro: reflexiones semiologicas sobre el lenguaje de la música en relación con la poesía. Mexico City: UNAM.
Lenz, D. (2000). Wenn die Silbe Schmerz auf Knopfdruck ertönt. Buchreport. Magazin, 31(9), 108-109.
López, É. (2019, May). El radioarte y el arte sonoro, hacia una experiencia estética. Retrieved October 28, 2019, from PoéticaSonora: https://poeticasonora.mx/El-radioarte-y-el-arte-sonoro-hacia-una-experiencia-estetica
Lowood, H., Monnens, H., Vowell, Z., Ruggill, J. E., McAllister, K. S., & Armstrong, A. (2009). Before It’s Too Late: A Digital Game Preservation White Paper. American Journal of Play, 2(2), 139-166.
Lugo, A. (2008). Fragmented Lives, Assembled Parts: Culture, Capitalism, and Conquest in the U.S.-Mexico Border. Austin: University of Texas Press.
Lugones, M. (2008). Colonialidad y género. Tabula Rasa(9), 75-101.
Lum, D. (2019, January 15). Interview for PoéticaSonora. (A. Meza, Interviewer) Montreal, Quebec, Canada.
MacArthur, M. (2016a). Monotony, the Churches of Poetry Reading, and Sound Studies. PMLA, 131(1), 38-63.
MacArthur, M. (2016b, June 6). Introducing simple open-source tools for performative speech analysis: Gentle and Drift. Jacket2. Retrieved November 1, 2019, from http://jacket2.org/commentary/introducing-simple-open-source-tools-performative-speech-analysis-gentle-and-drift
MacArthur, M., Zellou, G., & Miller, L. M. (2018, April 18). Beyond Poet Voice: Sampling the (Non-)Performance Style of 100 American Poets. Journal of Cultural Analytics. doi:10.22148/16.022
Mahdavi, A. (2019, November 13). Apple’s ‘sexist’ credit card isn’t just a PR problem – it’s a nightmare for us all. The Guardian. Retrieved December 1, 2019, from https://www.theguardian.com/commentisfree/2019/nov/13/apple-sexist-credit-card-pr-problem-nightmare
Manning, E., & Massumi, B. (2014). For Thought in The Act. In Thought in the Act: Passages in the Ecology of Experience (pp. 83-133). Minneapolis: University of Minnesota Press.
Manoff, M. (2010). Archive and Database as Metaphor: Theorizing the Historical Record. Portal: Libraries and the Academy, 10(4), 385–398.
Manovic, L. (2000). The Language of New Media. Cambridge, MA: MIT Press.
Marceau, A. (Ed.). (2010). Québec Enslamé : Anthologie des slameuses et slameurs du Québec. Quebec City: Réserve Phonique/Tremplin d’actualisation de poésie.
Marcum, D. (2016). Due Diligence and Stewardship in a Time of Change and Uncertainty. Keynote address, Center for Research Libraries Collections Forum, Chicago, April 14. doi:https://doi.org/10.18665/sr.278232
Marino, M. (2006, December 4). Critical Code Studies. Electronic Book Review. Retrieved June 25, 2019, from http://electronicbookreview.com/essay/critical-code-studies/
Mariscal, J., & Martínez, M. A. (2016). La vida informacional de los pobres: un estudio etnográfico en México. In H. Galperín, & J. Mariscal (Eds.), Internet y pobreza: evidencia y nuevas líneas de investigación para América Latina (pp. 233-278). Mexico City: CIDE.
Martin, J. (2016, June 6-10). Creating LAMP infrastructure for digital humanities projects. Course, Digital Humanities Summer Institute. Victoria, BC: University of Victoria.
Martínez, I. (2012). Experimentación sonora contemporánea. In K. Jasso, & D. Garza (Eds.), (Ready) Media: Hacia una arqueología de los medios y la invención en México (pp. 393-421). Mexico City: Laboratorio Arte Alameda/INBA/Conaculta.
McGann, J. (2007). Database, Interface, and Archival Fever. PMLA, 122(5), 1588-1592.
Medina, A. C., & Jimeno, J. (2017, February). Relatoría de consulta e investigación del acervo sonoro en el Centro de Documentación Ex Teresa (CDXT) del Ex Teresa-Arte Actual. Retrieved February 8, 2019, from PoéticaSonora: https://poeticasonora.mx/Relatoria-de-consulta-e-investigacion-del-acervo-sonoro-en-el-CDXT
Meintjes, L. (2011). Sound of Africa! Making Zulu Music in a South African Studio. Durham: Duke University Press.
Meister, C. (2018). Sprich, damit ich dich sehe. München: Metzel.
Melucci, A. (1996). Challenging Codes: Collective Action in the Information Age. Cambridge, UK: Cambridge University Press.
Mendoza Gómez “Comikk MG”, R. I. (2019a, June 29). Cómo surge el primer slam nacional de México. Spoken Word MX. Retrieved October 27, 2019, from http://spokenword.mx/2019/06/29/como-surge-el-primer-slam-nacional-mexico/
Mendoza Gómez “Comikk MG”, R. I. (2019b, August 27). Descubre qué pasará con el slam nacional este 2019. Retrieved January 26, 2020, from Spoken Word MX: http://spokenword.mx/2019/08/27/descubre-que-pasara-con-el-slam-nacional-mx-este-2019/
METS. (2010, April). Retrieved from Metadata Encoding and Transmission Sandard: Primer and Reference Manual: http://www.loc.gov/standards/mets/METSPrimer.pdf
Meza, A. (2011). Shuffle: poesía sonora. Mexico City: Conaculta.
Meza, A. (2012). La frontera silenciada: aproximación sociolingüística a tres colectivos artístico-literarios en Tijuana y San Diego. Master’s thesis. Tijuana: El Colegio de la Frontera Norte.
Meza, A., & Nieto, A. L. (2014). Arte, literatura y acción colectiva en Tijuana-San Diego. Culturales, II(1), 95-123.
Mills, M. (2012). Do Signals Have Politics? Inscribing Abilities in Cochlear Implants. In K. Bijsterveld, & T. Pinch (Eds.), The Oxford Handbook of Sound Studies (pp. 320-346). New York: Oxford University Press.
Miskolci, R. (2014). Queering the Geopolitics of Knowledge. In D. de Souza Pinto, B. Falabella Fabrício, R. Borba, & E. S. Lewis (Eds.), Queering Paradigms IV: South-North Dialogues on Queer Epistemologies, Embodiments and Activisms (pp. 13-30). Bern, Germany: Peter Lang.
Mitchell, C. (2015, March). Again the Air Conditioners: Finding Poetry in the Institutional Archive. Amodern(4). Retrieved October 29, 2019, from http://amodern.net/article/again-air-conditioners/
Mitchell, C., & Mattern, S. (2015, March). Media Archaeology of Poetry and Sound. Amodern(4). Retrieved October 29, 2019, from http://amodern.net/article/media-archaeology-poetry-sound/
Mochán, L. (2011a, July 31). Campeonato mexicano LoopStation 2011 - I Wish. Leika Mochán’s channel. YouTube, Mexico City. Retrieved April 26, 2019, from https://www.youtube.com/watch?v=e2Ap_IHyQTg
Mochán, L. (2011b, September 11). El reflejo de una voz. (N. Zamher, Interviewer) Mexico City: Cuarto Acústico. Retrieved April 14, 2019, from https://cuartoacustico.wordpress.com/2011/09/14/leyka-mochan-el-reflejo-de-una-voz/
Mochán, L. (2013, July 25). Voice Live Touch TC Helicon [Tutorial]. Musitech. YouTube, Mexico City. Retrieved April 14, 2019, from https://www.youtube.com/watch?v=z_1ObL6plgk
Mochán, L. (2014, November 12). Entrevista a Leika Mochán ensamble vocal. (S. Padilla Adorno, Interviewer) Xalapa: Universidad Veracruzana. Retrieved April 26, 2019, from https://videoteca.uv.mx/video/play/video/Entrevista_a_Leika_Mochan_ensamble_vocal
Mochán, L., & Noriega, I. (2015, February 4). Estreno “Frágil”. Código Indie. (D. Barajas, Interviewer) Mexico City.
Mochán, L., & Noriega, I. (2017, August 30). Interview for PoéticaSonora. (A. Meza, Interviewer) Mexico City.
MODS. (2018, August 2). Metadata Object Description Schema User Guidelines (Version 3). Retrieved November 1, 2019, from Library of Congress: http://www.loc.gov/standards/mods/userguide/
Montaño Garfias, E. (2003, April 23). Difunde Radio Educación durante 24 horas programa de poesía sonora. La Jornada. Retrieved October 21, 2019, from http://www.jornada.unam.mx/2003/04/27/05an1cul.php
Moreno Villareal, J. (2004, May). Urbe probeta: la lectura de poesía como arte electrónico. El Universal. Retrieved April 14, 2019, from http://motinpoeta.blogspot.com/2006/01/urbe-probeta-por-jaime-moreno.html
Moretti, F. (2005). Graphs, Maps, Trees: Abstract Models for Literary History. New York: Verso.
Moretti, F. (2013). Distant Reading. New York: Verso.
Morris, J. W. (2008). Delegating the Live: Musicians, Machines and the Practices of Looping. In C. Birdsall, & A. Enns (Eds.), Sonic Mediations: Body, Sound, Technology (pp. 77-92). Newcastle, UK: Cambridge Scholars Publishing.
MusicBrainz. (s.d.). Database - Schema. Retrieved July 7, 2019, from MusicBrainz: https://musicbrainz.org/doc/MusicBrainz_Database/Schema
Mustazza, C. (2015, January 10). The Noise is the Content: Toward Computationally Determining the Provenance of Poetry Recordings. Jacket2. Retrieved February 8, 2019, from https://jacket2.org/commentary/noise-content-toward-computationally-determining-provenance-poetry-recordings
Mustazza, C. (2018). Machine-aided close listening: Prosthetic synaesthesia and the 3D phonotext. Digital Humanities Quarterly, 12(3). Retrieved November 1, 2019, from http://www.digitalhumanities.org/dhq/vol/12/3/000397/000397.html
Nakamura, L. (2014). Indigenous Circuits: Navajo Women and the Racialization of Early Electronic Manufacture. American Quarterly, 66(4), 919-941. doi:10.1353/aq.2014.0070
Nardone, M. (2019). Of the Repository: Poetics in a Networked Digital Milieu. Doctoral dissertation. Montreal: Concordia University.
Noble, S. U. (2018). Algorithms of Oppresion: How Search Engines Reinforce Racism. New York: New York University Press.
Ochoa Gautier, A. M. (2014). Aurality: Listening and Knowledge in Ninetheenth-Century Colombia. Durham/London: Duke University Press.
Ong, W. J. (1982). Orality and Literacy: the Technologizing of the Word. London/New York: Routledge.
Ortega, É. (2018). Archives, Libraries, Collections, and Databases: A First Look at Digital Literary Studies in Mexico. Hispanic Review, 86(2), 229-247. doi:https://doi.org/10.1353/hir.2018.0016
Ortiz, E. (2017, August 22). Interview for PoéticaSonora. (C. García Leyva, S. González Aktories, & A. Meza, Interviewers) Mexico City.
Pascaud, F. (2013). “Siempre me he preguntado lo que era...”. In R. Córdova (Ed.), eSLAMex: primera antología de espoken word mexicano. Mexico City/Tijuana: (H)onda Nómada/Kodama Cartonera.
Pasquinelli, M. (2009). Google’s PageRank Algorithm: A Diagram of the Cognitive Capitalism and the Rentier of the Common Intellect. In K. Becker, & F. Stalder (Eds.), Deep search: the politics of search beyond Google. Innsbruck/Piscataway, NJ: Studien Verlag/Transaction Publishers.
Patteson, T. (2015). A New, Perfect Musical Instrument: The Trautonium and Electric Music in the 1930s. In Instruments for New Music (pp. 114-167). University of California Press: Berkeley.
Pinch, T. (2001). Why You Go to a Piano Store to Buy a Synthesizer: Path Dependence and the Social Construction of Technology. In R. Garud, & P. Karnøe (Eds.), Path Dependence and Creation (pp. 381–402). New Jersey: Rutgers University Press.
PoéticaSonora. (2016). About the Project. Retrieved February 8, 2019, from PoéticaSonora: http://poeticasonora.mx/Project
PoéticaSonora. (2016). Primer encuentro de Archivos de poesia y arte sonoros en Mexico. Retrieved September 10, 2019, from PoéticaSonora: https://poeticasonora.mx/Primer-encuentro-Archivos-de-poesia-y-arte-sonoros-en-Mexico
POM. (2015). Segunda antología poética digital: Colectivo POM. Tultitlán: self-published.
Pomerantz, J. (2015). Metadata. Cambridge, MA: MIT Press.
Quamen, H. (2006). Looking Toward the Future: A Case Study of Open Source Software in the Humanities. Innovate: Journal of Online Education, 3(1). Retrieved August 12, 2019, from htp://nsuworks.nova.edu/innovate/vol3/iss1/6
Quamen, H. (2012). The Limits of Data Modelling: Data Culture and the Humanities. Scholarly and Research Communitation, 3(4), 1-14.
Quamen, H. (2017, May 28). An Introduction to Databases for Humanists. Workshop, Digital Humanities Summer Institute. Toronto: Ryerson University.
Restrepo, E. (2016). Etnografía: alcances, técnicas y éticas. Bogotá: Envión.
Rettberg, E. (2015, March 26). Hearing the Audience. Jacket2. Retrieved October 27, 2019, from http://jacket2.org/commentary/hearing-audience
Rivas, T. (2015). El fantasma de la voz: entre poesía y arte sonoro. In R. Cerón (Ed.), Enclave: poéticas experimentales (pp. 59-69). Mexico City: EBL-Intersticios/Conaculta.
Rivera Cusicanqui, S. (2012). Chhixinakax utxiwa: A Reflection on the Practices and Discourses of Decolonization. (B. Baletti, Trans.) The South Atlantic Quarterly, 111(1), 95-109. doi:10.1215/00382876-1472612
Rivera Garza, C. (2007, June). Esto no es un mantel verde. Letras Libres, 80-81.
Rocha Iturbide, M. (2012a). Música experimental y poesía sonora en México. In K. Jasso, & D. Garza (Eds.), (Ready)Media: hacia una arqueología de los medios y la intervención en México (pp. 375-391). Mexico City: Laboratorio Arte Alameda/INBA/Conaculta.
Rocha Iturbide, M. (2012b). Arqueología de la música experimental en México. In K. Jasso, & D. Garza (Eds.), (Ready)Media: hacia una arqueología de los medios y la intervención en México (pp. 215-228). Mexico City: Laboratorio Arte Alameda/INBA/Conaculta.
Rocha, B. (2004). Radio Educación en el siglo XXI. In J. C. De León González (Ed.), Una historia hecha de sonidos: Radio Educación, la innovación en el cuadrante (pp. 171-196). Mexico City: Secretaría de Educación Pública. Retrieved October 28, 2019, from http://www.radioeducacion.edu.mx/libros/historia-sonidos-cap03.pdf
Rodgers, T. (2012). Pink Noises: Women on Electronic Music and Sound. Durham: Duke University Press.
Rodgers, T. (2015). Tinkering with Cultural Memory: Gender and the Politics of Synthesizer History. Feminist Media Studies, 5-30.
Rodríguez Aranda, P., & Roldán Ortiz, E. (2013). Coordinates of Poetry Out Loud: Approaches to the History of the Spoken Word in Mexico. Voices of Mexico, 96, 109-112.
Rodríguez Ramírez, R., & González Cruz, A. J. (2016). Definición de datos. SQL estándar básico [Online Course]. Mexico City: DGTIC-UNAM.
Rojas Delgado, A., & Cano Granados, H. (2017). SQL. Uso del manejador de bases de datos MySQL [Online Course]. Mexico City: DGTIC-UNAM.
Rosell, H. (2019, February 1). Interview for PoéticaSonora. (S. González Aktories, I. Alcántara Carbajal, & V. Meza, Interviewers) Mexico City.
Ruceker, S. (2016). Interface as Mediating Actor for Collection Access, Text Analysis, and Experimentation. In S. Scheribman, R. Siemens, & J. Unsworth (Eds.), A New Companion to Digital Humanities (pp. 397-407). Chichester/Boston: Wiley/Blackwell.
Rusell, S. (s.d). The Watkins/WEM Copicat. Retrieved September 25, 2019, from Vintage Hofner Site: http://www.vintagehofner.co.uk/britamps/watkins/copicat.html
Saldaña París, D. (2009, August). Sonajero: Rocío Cerón, Imperio/Empire. Letras Libres, 86-87.
Sandoval, C. (2004). Do-It-Yourself Art. Estudio de la producción artística y las redes sociales de cuatro grupos de artistas de Tijuana. Master’s thesis. Tijuana: El Colegio de la Frontera Norte.
Sayers, J. (2018). “I don’t know all the circuitry”. In J. Sayers (Ed.), Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Debates in the Digital Humanities Series (pp. 1-18). Minnesota: University of Minnesota Press.
Schaeffer, P. (2004). Acousmatics. In C. Cox, & D. Warner (Eds.), Audio Culture: Readings in Modern Music (pp. 76-81). New York: Continuum.
Schafer, M. (1977). The tuning of the world: Toward a theory of soundscape design. Philadelphia: University of Pennsylvania Press.
SFU. (2017). Simon Fraser University Archives Format Policy Registry. Victoria, B.C.: SFU Archives and Records Management Department. Retrieved November 10, 2019, from https://www.sfu.ca/content/dam/sfu/archives/DigitalPreservation/FormatPolicyRegistry.pdf
Sherwood, K. (2015, March 2). Distanced Sounding: ARLO as a Tool for the Analysis and Visualization of Versioning Phenomena Within Poetry Audio. Jacke2. Retrieved November 1, 2019, from https://jacket2.org/commentary/distanced-sounding-arlo-tool-analysis-and-visualization-versioning-phenomena-within-poetr
Simpson, L. (2011). Dancing on our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence and a New Emergence. Winnipeg: Arbeiter Ring Publishing.
Simpson, L. (2012, March 5). Dancing the World into Being: A Conversation with Idle-No-More’s Leanne Simpson. (N. Klein, Interviewer) Yes! Magazine. Retrieved February 8, 2019, from https://www.yesmagazine.org/peace-justice/dancing-the-world-into-being-a-conversation-with-idle-no-more-leanne-simpson
Simpson, L. (2013). Islands of Decolonial Love. Winnipeg: Arp Books.
Smith Rumsey, A. (2013). Creating Value and Impact in the Digital Age Through Translational Humanities. Report, Council on Library and Information Resources, Washington, DC. Retrieved February 8, 2019, from https://www.clir.org/pubs/ruminations/translational-humanities/
Soon, W. (2017, November 13). Vocable Code. Retrieved November 17, 2019, from SiuSoon: http://siusoon.net/vocable-code/
Sterne, J. (2003). The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press.
Sterne, J. (2009). The Preservation Paradox. In K. Bijsterveld, & J. Van Dijck (Eds.), Sound Souvenirs: Audio Technologies, Memory and Cultural Practices (pp. 55-65). Amsterdam: Amsterdam University Press.
Sterne, J. (2011). The Theleology of Sound: A Critique of Orality. Canadian Journal of Communication, 36(2), 207-225.
Sterne, J. (2012). MP3: The Meaning of a Format. Durham: Duke University Press.
Suber, P. (2012). Open Access. Cambrdige, MA: MIT Press.
Tagg, P. (2013). Vocal Persona. In Music’s Meanings: A Modern Musicology for Non-Musos (pp. 343-382). New York/Huddersfield: The Mass Media Music Scholars’ Press.
Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.
Tomlinson, G. (2015). A Million Years of Music: The Emergence of Human Modernity. New York: Zone Books.
Torres, M., González Aktories, S., Mendoza Pineda, I., Caudillo, A., & Pacheco, J. (2019). Informe de la consulta de archivos en el centro de documentación Príamo Lozada del Laboratorio Arte Alameda. Retrieved January 21, 2020, from Modos de Oír: Prácticas de arte y sonido en México. Archivo abierto: https://modosdeoir.inba.gob.mx/textos/iformecdpl/
Treleani, M. (2014). Mémoires audiovisuelles: les archives ont-elles un sens ? Montreal: Les Presses de l’Université de Montréal.
Treleani, M., & Mussou, C. (2012). Retelling the Past with Broadcast Archives. Journal of European History and Culture, 1(1), 1-6.
Tresch, J., & Dolan, E. (2013). Toward a New Organology: Instruments of Music and Science. Osiris, 28(1), 278-298.
UNAM. (2017). Servicio Social Universitario > Definición. Retrieved February 8, 2019, from UNAM: http://www.dgoserver.unam.mx/portaldgose/servicio-social/htmls/ss-universitario/ssu-definicion.html
UNESCO. (2006, September 1). Report by the Director-General on the Implications of the Proclamation of a World Day for Audiovisual heritage". UNESCO Executive Borad 175th. Session. Retrieved January 19, 2020, from https://unesdoc.unesco.org/ark:/48223/pf0000146936
Valenzuela Arce, J. M. (2009). El futuro ya fue: socioantropología de l@s jóvenes en la modernidad. Tijuana/Mexico City: El Colegio de la Frontera Norte/Casa Juan Pablos.
Vinck, D., & Camus, A. (2019). Dinámica de innovación en culturas y humanidades digitales: los corpus como fuente de innovación. Nómadas(50), 61-75. doi:10.30578/nomadas.n50a4
Weheliye, A. (2002). “Feenin:” Posthuman Voices in Contemporary Black Music. Social Text, 20(2), 21-47.
Whitehead, A. N. (1978). Process and Reality: An Essay in Cosmology. New York: The Free Press.
Witt, S. (2016). How Music Got Free: A Story of Obsession and Invention. New York: Penguin.
Woodside, J. (2005). El impacto del sampleo en la memoria colectiva. Hacia una semiótica del sampleo. Undegraduate thesis. Mexico City: UAM-Iztapalapa.
Woodside, J. (2009). When Soundscape Becomes Music: A Semiotic Approach to Sampling. In E. Tarasti (Ed.), Communication: Understanding/Misunderstanding. Proceedings of the 9th Congress of the IASS/AIS. Acta Semiotica Fennica XXXIV (Vol. 3, pp. 1915-1922). Imatra/Helsinki: International Semiotics Institute/Semiotic Society of Finland.
Woodside, J. (2015). La memoria mediática en México: retos y realidades. In M. Herrera Kuri, F. Carrillo, & J. Woodside (Eds.), Anuario de investigación (pp. 211-232). Mexico City: Universidad del Claustro de Sor Juana.
Wynter, S. (2003). Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation—An Argument. CR: The New Centennial Review, 3(3), 257-337. doi:10.1353/ncr.2004.0015
Yépez, H. (2018). La colonización de la voz: literatura moderna, Nueva España, el náhuatl. Tijuana: Axolotl Editorxs.
Yúdice, G. (2007). Nuevas tecnologías, música y experiencia. Gedisa: Barcelona.
Zamora Nunfio, L. L. (2016). Modelado físico. Introducción al diseño de bases de datos [Online Course]. Mexico City: DGTIC-UNAM.
Zamora Nunfio, L. L., Soriano Ortega, M. Á., & Sanjuan Carreño, Y. S. (2016). Introducción. Introducción al diseño de bases de datos [Online Course]. Mexico City: DGTIC-UNAM.
Repository Staff Only: item control page