Doing voices: reading language as craft in black British poetry

This is the author's final draft post-refereeing as published in The Journal of Commonwealth Literature published online 14 April 2014 DOI:10.1177/0021989414529121. The online version of this article can be found at: http://jcl.sagepub.com/content/early/2014/04/11/0021989414529121This essay offers a detailed exploration and comparative reading of two poems published 20 years apart: John Agard’s “Listen Mr Oxford Don” (1985), and Daljit Nagra’s “Kabba Questions the Ontology of Representation, the Catch-22 for ‘Black’ Writers…” (2007). The former poem is well-known, being regarded by a range of scholars as the acme of (and often, shorthand for) self-reflexively dialogic black British voice poetry, as it emerged in the 1980s, that plays off the friction between writing and speech. The latter is a complex and satirical take on poetic convention and canonicity – including the legacies of 1980s black British poetry – that exploits a tension between written poetic convention and artifice on the one hand, and the idea of the voiced poem as conveying “presence” or “authenticity” on the other. Both poems direct us towards a structuring paradox in which the embodied immediacy of human voice is mediated through the graphic conventions of written poetry. Reading these poems together, the essay considers on the one hand, how ideas about poetic form, language, and voice emerge out of particular historical junctures; and on the other, how such attentiveness to context can help us to develop techniques of a postcolonial “close reading”, eschewing totalizing formulae or summative evaluations of linguistic dissidence

Protecting Voice Controlled Systems Using Sound Source Identification Based on Acoustic Cues

Over the last few years, a rapidly increasing number of Internet-of-Things (IoT) systems that adopt voice as the primary user input have emerged. These systems have been shown to be vulnerable to various types of voice spoofing attacks. Existing defense techniques can usually only protect from a specific type of attack or require an additional authentication step that involves another device. Such defense strategies are either not strong enough or lower the usability of the system. Based on the fact that legitimate voice commands should only come from humans rather than a playback device, we propose a novel defense strategy that is able to detect the sound source of a voice command based on its acoustic features. The proposed defense strategy does not require any information other than the voice command itself and can protect a system from multiple types of spoofing attacks. Our proof-of-concept experiments verify the feasibility and effectiveness of this defense strategy.Comment: Proceedings of the 27th International Conference on Computer Communications and Networks (ICCCN), Hangzhou, China, July-August 2018. arXiv admin note: text overlap with arXiv:1803.0915

WRITING UTOPIA NOW: Utopian Poetics In The Work Of Theresa Hak Kyung Cha

This thesis examines Theresa Hak Kyung Cha’s DICTEE (1982), Audience Distant Relative (1977) and Reveillé dans la Brume (Awakened in the Mist) (1977). The premise of the thesis is an exploration of the various ways in which these works both perform and gesture toward the possibility of a ‘utopian’ experience of nonalienation. In Cha’s vocabulary, this takes the form of ‘interfusion’ and is related to the role of the artist as alchemist. Cha employs formal and linguistic innovations in her text, mail art and performance works to invite active participation from her readers and audience in a gesture toward embodied intersubjectivity. Her grappling with the challenges relating to the articulation of subjectivity place her work at the centre of contemporary critical debates around subjectivity and innovative poetics. In particular, recent scholarship on race and the poetic avant-garde has called for cross-disciplinary approaches to reading DICTEE as a text that explores the intersections of subjectivity and its performance in contemporary innovative poetics. Developing a theory of Utopian Poetics from my reading of Ernst Bloch’s utopian philosophy, I explore the ways in which DICTEE and Cha’s other works perform a yearning for non-alienated subjectivity that remains necessarily open and incomplete. My reading of DICTEE, in particular, is primarily informed by my own practices of yoga and meditation, and these practices form the basis of both my scholarly and creative engagements with this research. This scholarly thesis comprises Part 1 of a two-part submission. Part 2 comprises my own creative experiments with UtopianPoetics

Perception of Alcoholic Intoxication in Speech

The ALC sub-challenge of the Interspeech Speaker State Chal-lenge (ISSC) aims at the automatic classification of speech sig-nals into intoxicated and sober speech. In this context we con-ducted a perception experiment on data derived from the same corpus to analyze the human performance on the same task. The results show that human still outperform comparable baseline results of ISSC. Female and male listeners perform on the same level, but there is strong evidence that intoxication in female voices is easier to be recognized than in male voices. Prosodic features contribute to the decision of human listeners but seem not to be dominant. In analogy to Doddington’s zoo of speaker verification we find some evidence for the existence of lambs and goats but no wolves. Index Terms: alcoholic intoxication, speech perception, forced choice, intonation, Alcohol Language Corpu

Melted honey: sax and sex

[Abstract]: This paper deals with multisensory processes of engaging and disengaging with a musical world through the body. It is based on ethnographic research with an Australian Police band. Band members make a strict distinction between rehearsal and performance. For band members, rehearsals are characterised by a multi-sensual disengagement with instrument. During rehearsals, which entail a close multi-sensory focussing in on the points at which instrument body and musician body met, the senses of touch, sight and hearing are engaged in the process of surveillance. Such surveillance is undertaken in order that the musicians can identify faulted touches to instruments that result in faulted sounds. Touch to the instrument body is ‘watched’, not only with the eye, but in and through touch and hearing senses. These sensual combinations serve to separate person and instrument. In contrast, performances are characterised by a multisensual embodiment of the instrument, to the point that band members understand themselves to be constructed of instruments, and that instruments are constructed of them. In performances, instruments and performers come to phenomenologically complete one another’s bodies. Band members discuss the sensually experienced distinction between rehearsal and performance by means of a distinction between fucking (which they understood as similar to rehearsal) and making love (which they understood to be similar to performance experience). Band members also drew on food/music metaphors, including the difference between constructing a musical dish from a recipe (the written music) and tasting the melted honey of performed sax sounds. They used this metaphor to describe the sensual difference between making sound in rehearsal, and the corporeally penetrative act of inviting a sax into the body in musical performance. Using the distinction between rehearsal and performance, and the penetrative metaphors that band members used to describe it, I draw on and extend the critiques that Michel Serres made of Merleau-Pontian phenomenology to analyse rehearsal and performance moments as, respectively, multisensory processes of surveillance and anti-surveillance