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010 a| 2017055027;

020 a| 9780804797993q| (cloth ;q| alk. paper);

020 a| 9781503606562q| (pbk. ;q| alk. paper);

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100 1 a| Shaw, Lytle.=| ^A694406;

245 10 a| Narrowcasth| [electronic resource] :b| poetry and audio research /c| Lytle Shaw.;

260 a| Stanford, California :b| Stanford University Press,c| [2018];

300 a| xi, 254 pages :b| illustrations ;c| 24 cm.;

490 1 a| Post-45;

504 a| Includes bibliographical references and index.;

505 0 a| Third personism : the FBI's poetics of immediacy in the 1960s -- The Eigner sanction : keeping time from the American century -- Olson's sonic walls : citizenship and surveillance from the OWI to the Nixon tapes -- The strategic idea of north : Glenn Gould, Sergeant Jones and White Alice.;

506 a| Available only to authorized users.;

520 a| Explores how poets associated with the New Left mobilized tape recording as a new form of sonic field research even as they themselves were being subject to tape-based surveillance. Media theorists tend to understand audio recording as a technique for separating bodies from sounds, but this book listens closely to tape's embedded information, offering a counterintuitive site-specific account of 1960s poetic recordings. Allen Ginsberg, Charles Olson, Larry Eigner, and Amiri Baraka all used recording to contest models of time being put forward by dominant media and the state, exploring non-monumental time and subverting media schedules of work, consumption, leisure, and national crises. Surprisingly, their methods at once dovetailed with those of the state collecting evidence against them and ran up against the same technological limits. Arguing that CIA and FBI "researchers" shared unexpected terrain not only with poets but with famous theorists such as Fredric Jameson and Hayden White, Lytle Shaw reframes the status of tape recordings in postwar poetics and challenges notions of how tape might be understood as a mode of evidence.;

538 a| Mode of access: World Wide Web;

650 0 a| American poetryy| 20th centuryx| History and criticism.=| ^A18443;

650 0 a| Oral interpretation of poetry.=| ^A224048;

650 0 a| Poetics.=| ^A25917;

655 0 a| Electronic books.=| ^A491897;

830 0 a| Post 45.=| ^A1302907;

856 40 z| Full text available from eBooks on EBSCOhostu| https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1795113&scope=site&custid=s5822723&authtype=ip,shib;

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Narrowcast poetry and audio research / Lytle Shaw.

Author/creator	Shaw, Lytle
Format	Electronic
Publication Info	Stanford, California : Stanford University Press, [2018]
Description	xi, 254 pages : illustrations ; 24 cm.
Supplemental Content	Full text available from eBooks on EBSCOhost
Subjects	American poetry--20th century. --History and criticism. Sound--Recording and reproducing. --History. --20th century. Sound recordings and the arts--United States. --History. --20th century. Electronic surveillance--United States. --History. --20th century. New Left--United States. --History. --20th century. Oral interpretation of poetry. Poetics.

Series	Post-45 Post 45. ^A1302907
Contents	Third personism : the FBI's poetics of immediacy in the 1960s -- The Eigner sanction : keeping time from the American century -- Olson's sonic walls : citizenship and surveillance from the OWI to the Nixon tapes -- The strategic idea of north : Glenn Gould, Sergeant Jones and White Alice.
Abstract	Explores how poets associated with the New Left mobilized tape recording as a new form of sonic field research even as they themselves were being subject to tape-based surveillance. Media theorists tend to understand audio recording as a technique for separating bodies from sounds, but this book listens closely to tape's embedded information, offering a counterintuitive site-specific account of 1960s poetic recordings. Allen Ginsberg, Charles Olson, Larry Eigner, and Amiri Baraka all used recording to contest models of time being put forward by dominant media and the state, exploring non-monumental time and subverting media schedules of work, consumption, leisure, and national crises. Surprisingly, their methods at once dovetailed with those of the state collecting evidence against them and ran up against the same technological limits. Arguing that CIA and FBI "researchers" shared unexpected terrain not only with poets but with famous theorists such as Fredric Jameson and Hayden White, Lytle Shaw reframes the status of tape recordings in postwar poetics and challenges notions of how tape might be understood as a mode of evidence.
Bibliography note	Includes bibliographical references and index.
Access restriction	Available only to authorized users.
Technical details	Mode of access: World Wide Web
Genre/form	Electronic books.
LCCN	2017055027
ISBN	9780804797993 (cloth ; alk. paper)
ISBN	9781503606562 (pbk. ; alk. paper)

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Narrowcast poetry and audio research / Lytle Shaw.

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