Archive with Post Titles

• News-as-Opera: Shenton/Steyer’s On Call: COVID-19 (2021) (1/17/25) 
• Documenting Lepers’ Lives: The House is Black (1962) (1/11/25)
  
• To Banish the Earworm: "If We Were Married" by Shaina Taub (1/8/25) 
• 2024 Silences and Sounds (12/31/24)
  
• Writing is momentum (12/28/24)  
• “Aged documents” in the Thalbach Monastery Chronicle (12/16/24) 
• Starting from a place of blah (12/11/24)  
• “Bulgy enlargement” and medieval hearing loss: Insights from Flohr and Kierdorf (2022) 
• Smooth or Spiky? November’s Sound Samples (12/2/24)  
• There is no quiet, no silence anywhere within! (11/28/24) 
  
• 19th Century poetic earlids and the Ovid rumor-mill (11/26/24)

• Earlids of the early 1900s (11/21/2024)

• Soundscape compositions, Chicago style (11/16/24)
  

• I am (not) a crocodile: Earlids and the thinking person (11/15/24) 
  

• Manipulations of reality’s sounds: Drever on Soundscape Composition (11/6/24)

• It’s not time travel: sound modeling of 1622 St Paul’s (10/31/24)

• Scoring for Calm or for Excitement? Smalley et al. (2023) on choices of sound in digital nature experiences (10/25/24)

• The Silence of Not-Writing – and What To Do About It (10/20/24)

• Political Scientist Sean Gray’s typology of political silences (10/13/24)

• Some Further Silences of Christina Rossetti (10/12/24)

• Summer’s Soundscape Research--by the Numbers (10/6/24)

• Christina Rossetti and the contemplation of silence (10/5/24)

• Why Silence (10/4/24)
  

• Why Sound? (9/30/24)

• Introduction (9/29/24)