“A Cognitive Listening”

bibliography

• Advanced Bionics. “Cochlear Implants for You.” www.advancedbionics.com/com/en/home/cochlear-implants-for-you.html.
   Google Scholar
• Alland, San. “Writing from the Groin: How Non-disabled CisHet Monied White People Lock Themselves into Mediocrity,” text, captioned video “footnotes,” plain language, alt text, audio and BSL. Birds of Paradise Theatre Company, 2023. Forthcoming.
   Google Scholar
• Antin, David. “Video: The Distinctive Features of the Medium (1975).” Culture: A Critical Investigation, edited by John G. Hanhardt, Visual Studies Workshop Press, 1986.
   Google Scholar
• Barry, Iris. Let’s Go to the Movies. Payson and Clarke, 1926.
   Google Scholar
• Barthes, Roland. “The Grain of the Voice.” Image/Music/Text, edited and translated by Stephen Heath, HarperCollins, 1977.
   Google Scholar
• Bauman, H-Dirksen L., and Joseph J. Murray. “Deaf Gain: An Introduction.” Deaf Gain: Raising the Stakes for Human Diversity, edited by H-Dirksen L. Bauman and Joseph J. Murray, U of Minnesota P, 2014.
   Google Scholar
• Bonnet, François. The Order of Sounds: A Sonorous Archipelago. Urbanomic, 2016.
   Google Scholar
• Brady, Jenny. Receiver, 2019.
   Google Scholar
• Brueggemann, Brenda. Deaf Subjects: Between Identities and Places. NYU Press, 2009.
   Google Scholar
• Bucholtz, Mary. “Variation in Transcription.” Discourse Studies, vol. 9, no. 6, 2007, pp. 784–808, https://doi.org/10.1177/1461445607082580.
   Web of Science ®Google Scholar
• Butler, Janine. “The Visual Experience of Accessing Captioned Television and Digital Videos.” Television & New Media, vol. 21, no. 7, 2020, pp. 679–96, https://doi.org/10.1177/1527476418824805.
   Web of Science ®Google Scholar
• Cavarero, Adriana. For More than One Voice: Toward a Philosophy of Vocal Expression. Translated by Paul A. Kottman. Stanford UP, 2005.
   Google Scholar
• Cayley, John. Grammalepsy: Essays on Digital Language Art. Bloomsbury Academic, 2018, http://doi.org/10.5040/9781501335792.
   Google Scholar
• Cherney, James L. “Deaf Culture and the Cochlear Implant Debate: Cyborg Politics and the Identity of People with Disabilities.” Argumentation and Advocacy, vol. 36, no. 1, 1999, pp. 22–34, https://doi.org/10.1080/00028533.1999.11951635.
   Google Scholar
• Clowes, Robert W. “Screen Reading and the Creation of New Cognitive Ecologies.” AI & Society, vol. 34, 2019, pp. 705–20, https://doi.org/10.1007/s00146-017-0785-5.
   Web of Science ®Google Scholar
• “Cochlear Implants to Benefit More People with Hearing Loss.” BBC News Online: Health, www.bbc.co.uk/news/health-47475036.
   Google Scholar
• Cokes, Tony. The Book of Love, 1992.
   Google Scholar
• Coklyat, Bojana, and Finnegan Shannon. Alt-Text as Poetry. Typos, 2020, alt-text-as-poetry.net.
   Google Scholar
• Crowther, Bosley. “Subtitles Must Go: Let’s Have Dubbed English on Foreign-Language Films.” New York Times, 7 Aug. 1960, pp. 1, 3.
   Google Scholar
• Davidson, Michael. Distressing Language: Disability and the Poetics of Error. NYU Press, 2022.
   Google Scholar
• Davis, Lennard J. Enforcing Normalcy: Disability, Deafness, and the Body. Verso, 1995.
   Google Scholar
• Disability Visibility Project, disabilityvisibilityproject.com.
   Google Scholar
• Doane, Mary Ann. “The Voice in the Cinema: The Articulation of Body and Space.” Yale French Studies, vol. 60, 1980, pp. 33–50.
   Web of Science ®Google Scholar
• Dolar, Mladen. A Voice and Nothing More. MIT Press, 2006.
   Google Scholar
• Downey, Gregory J. Closed Captioning: Subtitling, Stenography, and the Digital Convergence of Text with Television. Johns Hopkins UP, 2008.
   Google Scholar
• Downs, Doug. “Critical Reading in a Screen Paradigm: From Deficit to Default.” Pedagogy, vol. 21, no. 2, Apr. 2021, pp. 205–24.
   Google Scholar
• Dworkin, Craig. Radium of the Word: A Poetics of Materiality. U of Chicago P, 2020.
   Google Scholar
• Dwyer, Tessa. Speaking in Subtitles: Revaluing Screen Translation. Edinburgh UP, 2017.
   Google Scholar
• Ellcessor, Elizabeth. “Blurred Lines: Accessibility, Disability, and Definitional Limitations.” First Monday, vol. 20, no. 9, 2015, journals.uic.edu/ojs/index.php/fm/article/view/6169.
   Google Scholar
• Ellcessor, Elizabeth. “Captions On, Off, on TV, Online: Accessibility and Search Engine Optimization in Online Closed Captioning.” Television & New Media, vol. 13, no. 4, 2012, pp. 329–52, https://doi.org/10.1177/1527476411425.
   Web of Science ®Google Scholar
• Ellcessor, Elizabeth. “‘One Tweet to Make so Much Noise’: Connected Celebrity Activism in the Case of Marlee Matlin.” New Media & Society, vol. 20, no. 1, Aug. 2016, https://doi.org/10.1177/1461444816661551.
   Web of Science ®Google Scholar
• Ellcessor, Elizabeth. Restricted Access: Media, Disability, and the Politics of Participation. NYU Press, 2016.
   Google Scholar
• Emerson, Lori. Reading Writing Interfaces: From the Digital to the Bookbound. U of Minnesota P, 2014.
   Google Scholar
• Faber, Liz. The Computer’s Voice: From Star Trek to Siri. Minnesota UP, 2020.
   Google Scholar
• Farocki, Harun, and Yilmaz Dziewlor. “Conversation: Harun Farocki and Yilmaz Dziewlor, October 23 2010, Kunsthaus Bregenz.” Harun Farocki, Weiche Montagen/Soft Montages, edited by Yilmaz Dziewlor, Kunsthaus Bregenz, 2011.
   Google Scholar
• Federman, Rachel. “‘An Idealistic Utopian Thought’: Paul McCarthy and the Spaces of Transmission.” Oxford Art Journal, vol. 37, no. 1, 2014, pp. 1–26.
   Google Scholar
• Finnegan, Ruth. Communicating: The Multiple Modes of Human Interconnection. Routledge, 2002.
   Google Scholar
• Fryer, Louise. An Introduction to Audio Description: A Practical Guide. Routledge, 2016.
   Google Scholar
• Garland-Thomson, Rosemarie. Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature. Columbia UP, 1997.
   Google Scholar
• Hamraie, Aimi, and Kelly Fritsch. “Crip Technoscience Manifesto.” Catalyst: Feminism, Theory, Technoscience, vol. 5, no. 1, 2019, pp. 1–34.
   Google Scholar
• Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies, vol. 14, no. 3, 1988, pp. 575–99.
   Web of Science ®Google Scholar
• Hayden, Sarah. “Caps On/Caps Off: Receiving Jenny Brady’s Receiver.” LUX: New Artist Focus, 30 Mar. 2021, lux.org.uk/writing/new-artist-focus-sarah-hayden-on-jenny-brady.
   Google Scholar
• Hayden, Sarah. “Emma Wolukau-Wanambwa: Voiced and Unvoiced.” LUX: New Artist Focus, 11 June 2020, lux.org.uk/writing/new-artist-focus-sarah-hayden-on-emma-wolukau-wanambwa.
   Google Scholar
• Hayden, Sarah. “Liquid Citizenship, Liquid Voice and Sensorial Sovereignty.” boundary2 online, vol. 5, no. 2, 11 Aug. 2020, www.boundary2.org/2020/08/7507/.
   Google Scholar
• Hayden, Sarah, editor. slow emergency siren, ongoing: Accessing Handsworth Songs. LUX, 2022.
   Google Scholar
• Hayden, Sarah. “When Attitudes Become Platitudes, Live in the Cloud: Dematerialization in the Work of Christopher Kulendran Thomas.” Cultural Politics, vol. 16, no. 2, July 2020, pp. 192–213, https://doi.org/10.1215/17432197-8233392.
   Google Scholar
• Hayles, N. Katherine. Writing Machines. MIT Press, 2002.
   Google Scholar
• Hickman, Louise. “The Abundance and Conflict of On-Demand Writing.” Pronouncing: The Society for the Diffusion of Useful Knowledge, issue 10, Oct. 2021, pp. 10–13, e-artexte.ca/id/eprint/33850/.
   Google Scholar
• Hickman, Louise. Access Workers, Transcription Machines, and Other Intimate Colleagues: Disability, Technology and Labor Practices in the Production of Knowledge (1956–Present). 2018. UC San Diego. Ph.D. thesis. ProQuest ID: Hickman_ucsd_0033D_17329. Merritt ID: ark:/13030/m5d26v5n. Retrieved from escholarship.org/uc/item/55c265pz.
   Google Scholar
• Hickman, Louise. “Willful Dictionaries and Crip Authorship in CART.” Crip Authorship: Disability as Method, edited by Mara Mills and Rebecca Sanchez, NYU Press, 2023.
   Google Scholar
• Hickman, Louise, and Finnegan Shannon. Captioning on Captioning, 2020.
   Google Scholar
• Hillman, Roger. “Spoken Word to Written Text: Subtitling.” The Oxford Handbook of Translation Studies, edited by Kirsten Malmkjær and Kevin Windle, Oxford UP, 2011, https://doi.org/10.1093/oxfordhb/9780199239306.013.0026.
   Google Scholar
• Hussain, Sharin. “How Stranger Things made Subtitles Cool.” The Times, 14 July 2022, www.thetimes.co.uk/article/stranger-things-the-show-that-made-a-star-of-its-subtitler-khklbl2mn.
   Google Scholar
• Hutchinson, Rachel S., and Alison F. Eardley. “Museum Audio Description: The Problem of Textual Fidelity.” Perspectives: Studies in Translation Theory and Practice, vol. 27, no. 1, 2019, pp. 42–57, https://doi.org/10.1080/0907676X.2018.1473451.
   Web of Science ®Google Scholar
• Joseph, Elaine Lillian. “Audio Description Script.” slow emergency siren, ongoing, edited by Sarah Hayden, LUX, 2022, slowemergencysiren.org.uk/audio-description-script-by-elaine-lillian-joseph.
   Google Scholar
• Kafer, Alison. Feminist, Queer, Crip. Indiana UP, 2013.
   Google Scholar
• Kanter, Jake. “Young People the Biggest Readers of Subtitles on TV.” The Times Online, 16 Nov. 2021, www.thetimes.co.uk/article/young-people-the-biggest-readers-of-subtitles-on-tv-m9scj7lf5.
   Google Scholar
• Kehe, Jason. “The Real Reason You Use Closed Captions for Everything Now; Young People the Biggest Readers of Subtitles on TV.” WIRED, 26 June 2018, www.wired.com/story/closed-captions-everywhere/.
   Google Scholar
• Kleege, Georgina. More than Meets the Eye: What Blindness Brings to Art. Oxford UP, 2018.
   Google Scholar
• Kleege, Georgina, and Scott Wallin. “Audio Description as a Pedagogical Tool.” Disability Studies Quarterly, vol. 35, no. 2, 2015, https://dsq-sds.org/article/view/4622.
   PubMedGoogle Scholar
• Kozloff, Sarah. Invisible Storytellers: Voice-over Narration in American Fiction Film. U of California P, 1988.
   Google Scholar
• Kurzman, Steven L. “Presence and Prosthesis: A Response to Nelson and Wright.” Cultural Anthropology, vol. 16, no. 3, 2001, pp. 374–87.
   Web of Science ®Google Scholar
• Lazard, Carolyn. “Accessibility in the Arts: A Promise and a Practice.” Commissioned by Recess, edited by Kemi Adeyemi, designed by Rosen Tomov and Riley Hooker. The Standard Group, 2019, https://promiseandpractice.art.
   Google Scholar
• Lazard, Carolyn. A Recipe for Disaster, 2018.
   Google Scholar
• Leeuwen, Theo van. Speech, Music, Sound. Macmillan, 1999.
   Google Scholar
• Lord, Jordan. After … After … Access, 2018.
   Google Scholar
• Lord, Jordan. Expressions, 2021.
   Google Scholar
• Malafouris, Lambros. How Things Shape the Mind: A Theory of Material Engagement. MIT Press, 2013.
   Google Scholar
• Marcus, Laura. The Tenth Muse: Writing About Cinema in the Modernist Period. Oxford UP, 2007.
   Google Scholar
• Marcus, Sharon, et al. “Building a Better Description.” Representations, vol. 135, 2016, pp. 1–21.
   Web of Science ®Google Scholar
• Migone, Christof. Sonic Somatic: Performances of the Unsound Body. errant bodies, 2012.
   Google Scholar
• Mills, Liz. “When the Voice Itself is Image.” Modern Drama, vol. 52, no. 4, 2009, pp. 389–404, https://doi.org/10.3138/md.52.4.389.
   Web of Science ®Google Scholar
• Mills, Mara. “Deaf Jam: From Inscription to Reproduction to Information.” Social Text, vol. 28, no. 1(102), 2010, pp. 35–58, https://doi.org/10.1215/01642472-2009-059.
   Google Scholar
• Mills, Mara. “Listening to Images: Audio Description, the Translation Overlay, and Image Retrieval.” Film Sound. Spec. issue of The Cine-Files, issue 8, 2015, pp. 1–5, www.thecine-files.com/listening-to-images-audio-description-the-translation-overlay-and-image-retrieval/.
   Google Scholar
• Nagels, Katherine. “‘Those Funny Subtitles’: Silent Film Intertitles in Exhibition and Discourse.” Early Popular Visual Culture, vol. 10, no. 4, 2012, pp. 367–82, https://doi.org/10.1080/17460654.2012.724570.
   Web of Science ®Google Scholar
• Nancy, Jean-Luc. Listening. Translated by Charlotte Mandell. Fordham UP, 2007.
   Google Scholar
• Nornes, Abé Mark. “For an Abusive Subtitling.” Film Quarterly, vol. 52, no. 3, 1999, pp. 17–34.
   Web of Science ®Google Scholar
• Ong, Walter. Orality and Literacy. Routledge, 2012.
   Google Scholar
• O’Sullivan, Carol, and Jean-François Cornu. “History of Audiovisual Translation.” The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, Routledge, 2018.
   Google Scholar
• Padden, Carol, and Tom Humphries. Deaf in America: Voices from a Culture. Harvard UP, 1988.
   Google Scholar
• Perego, Elisa. “Audio Description: Evolving Recommendations for Usable, Effective and Enjoyable Practices.” The Routledge Handbook of Audiovisual Translation, edited by Luis Pérez-González, Routledge, 2018, pp. 114–29.
   Google Scholar
• Prouvost, Laure. OWT, 2007.
   Google Scholar
• Prouvost, Laure. We Will Go Far, 2015.
   Google Scholar
• Prouvost, Laure. You Are the Only One, 2008.
   Google Scholar
• Rangan, Pooja. “Audibilities: Voice and Listening in the Penumbra of Documentary: An Introduction.” Discourse, vol. 39, no. 3, 2017, pp. 279–91.
   Google Scholar
• Silverman, Kaja. The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema. Indiana UP, 1988.
   Google Scholar
• Sopocy, Martin. “The Role of the Intertitle in Film Exhibition, 1904–1910.” Cinema: The Beginnings and the Future. Essays Marking the Centenary of the First Film Show Projected to a Paying Audience in Britain, edited by Christopher Williams, U of Westminster P, 1996.
   Google Scholar
• Spigel, Lynn. TV by Design: Modern Art and the Rise of Network Television. U of Chicago P, 2008.
   Google Scholar
• Sylvestre, Liza. asweetsea, 2022.
   Google Scholar
• Sylvestre, Liza. Captioned: Twentieth Century, 2018.
   Google Scholar
• Sylvestre, Liza. Channel Surfing, 2017.
   Google Scholar
• Sylvestre, Liza. Third Space, 2019.
   Google Scholar
• Sylvestre, Liza, and Aimi Hamraie. Contra* Podcast Episode 2.4: Contra*Description With Liza Sylvestre, 2 Mar. 2020, www.mapping-access.com/podcast/2020/3/2/contra-podcast-episode-24-contradescription-with-liza-sylvestre.
   Google Scholar
• Titchkosky, Tanya. “The Educated Sensorium and the Inclusion of Disabled People as Excludable.” Scandinavian Journal of Disability Research, vol. 21, no. 1, 2019, pp. 282–90, https://doi.org/10.16993/sjdr.596.
   Web of Science ®Google Scholar
• Titchkosky, Tanya. The Question of Access: Disability, Space, Meaning. U of Toronto P, 2011.
   Google Scholar
• US Department of Health and Human Services. “TV and Deaf Children.” Children Today, vol. 11, no. 1, 1982, pp. 27–32.
   Google Scholar
• Virdi, Jaipreet. Deafness Cures. U of Chicago P, 2020.
   Google Scholar
• Waldo, John F. “The ADA and Movie Captioning: A Long and Winding Road to an Obvious Destination.” Valparaiso University Law Review, vol. 45, no. 3, 2011, pp. 1033–60.
   Google Scholar
• Watlington, Emily. “Critical Creative Corrective Cacophonous Comical: Closed Captions.” Mousse, 2019, www.moussemagazine.it/magazine/critical-creative-corrective-cacophonous-comical-closed-captions-emily-watlington-2019/.
   Google Scholar
• Watlington, Emily. “The Radical Accessibility of Video Art (for Hearing People).” Future Anterior, vol. 16, no. 1, 2019, pp. 111–21.
   Web of Science ®Google Scholar
• Watlington, Emily, and Riva Lehrer. “Golem Girl: An Interview with Riva Lehrer.” Disability and the Politics of Visibility, edited by Emily Watlington. Spec. issue of Art Papers, vol. 42, no. 4, 2018–19, pp. 44–48.
   PubMedGoogle Scholar
• Weise, Jillian. “Common Cyborg.” Granta, 24 Sept. 2018, granta.com/common-cyborg/#r1.
   Google Scholar
• Williamson, Beth. “Getting a Grip: Disability in American Industrial Design of the Late Twentieth Century.” Winterthur Portfolio, vol. 46, no. 4, 2012, pp. 213–36, https://doi.org/10.1086/669668.
   Web of Science ®Google Scholar
• Wolukau-Wanambwa, Emma. Promised Lands, 2015.
   Google Scholar
• Youngs, Ian. “The Real Reason You Use Closed Captions for Everything Now; Young People the Biggest Readers of Subtitles on TV.” BBC News Online, 15 Nov. 2021, www.bbc.co.uk/news/entertainment-arts-59259964.
   Google Scholar
• Zárate, Soledad. Captioning and Subtitling for d/Deaf and Hard of Hearing Audiences. UCL Press, 2021.
   Google Scholar
• Zdenek, Sean. [reading sounds]: Closed-Captioned Media and Popular Culture. U of Chicago P, 2015.
   Google Scholar