Articles generated as part of a HiPSTAS project and HiPSTAS projects mentioned in the News:

Figueroa-Nieves, Amanda. UT-Austin researchers receive grant to further audiovisual annotation technology, The Daily Texan,

Mellon Grant Helps UT Austin Scholars Preserve and Promote Audiovisual HeritageUT News, 7 Oct 2020.

Clement, T. “Listen Slow: Researching Anne Sexton putting poetry her wayRansom Center Magazine, 8 Oct 2020.

Dubrow, Aaron. Stampede for the Humanities! Texas Advanced Computing Center, 27 Mar 2013.


Clement, T. and McLaughlin, S. “Measured Applause: Toward a Cultural Analysis of Audio Collections.” Cultural Analytics, vol. 1, no. 1, 2016.

Clement, T. “A Rationale of Audio Text.” Digital Humanities Quarterly, vol. 10, no. 2, 2016.

Clement, T. “The Ear and the Shunting Yard: Meaning Making as Resonance in Early Information Theory.” Information & Culture 49.4 (2014): 401-426.

Clement, T. “Word. Spoken. Articulating the Voice as Descriptive Metadata for High Performance Sound Technologies for Access and Scholarship (HiPSTAS).” In Provoke. Darren Mueller, Mary Caton Lingold and Whitney Anne Trettien (eds.) Durham, NC: Duke University Press (Forthcoming).

Clement, T. “Introducing High Performance Sound Technologies for Access and Scholarship.” The International Association of Sound and Audiovisual Archives Journal (September 2013) 41: 21-28.

Clement, T. “When Texts of Study are Audio Files: Digital Tools for Sound Studies in DH” A New Companion to Digital Humanities. Eds. Susan Schreibman, Ray Siemens and John Unsworth. Wiley-Blackwell, 2016, pp. 348–357.

Clement, T. “Machinic Ballads: Alan Lomax’s Global Jukebox and the Categorization of Sound Culture.” Sounding Out! Blog. 14 May 2015.

Clement*, T., Tcheng, D., Auvil, L., and Borries, T. “High Performance Sound Technologies for Access and Scholarship (HiPSTAS) in the Digital Humanities” Proceedings of the 77th Annual ASIST Conference, Seattle, WA, 31 October – 5 November.

Clement, T. and Roy, L., “HiPSTAS: An Institute Advancing Tools for Analyzing Digital Audio Collections,” American Indian Library Association Newsletter 36 (2013): 8-15.

Filreis, A. “Anti-ordination in the visualization of the poem’s soundJacket2

Francis, H., Clement, T., Peone, G., Carpenter, B., Suagee-Beauduy, K. “Accessing Sound at Libraries, Archives, and Museums.” Indigenous Ownership & Libraries, Archives, and Museums. Eds. Camille Callison, Loriene Roy, Gretchen Alice LeCheminant. International Federation of Library Associations, 2016, pp. 344–

MacArthur, Marit. “Monotony, the Churches of Poetry Reading, and Sound Studies.” PMLA 131.1 (January 2016)

Mustazza, C. “The noise is the content: Toward computationally determining the provenance of poetry recordings” using ARLO. Jacket2. 10 Jan. 2015.

Perez-Hernandez, D. “Scholars Collaborate to Make Sound Recordings More AccessibleThe Chronicle of Higher Education. 26 March 2014.

Rettberg, E. “Hearing the Audience“. Jacket2. 26 March 2015.

Sherwood, K. “Distanced sounding: ARLO as a tool for the analysis and visualization of versioning phenomena within poetry audio.” Jacket2. 2 March 2015.

Al Filreis, Jason Camlot, Steve Evans. BEYOND THE TEXT: Literary Archives in the 21st Century.

Christine Mitchell, Shannon Mattern. “MEDIA ARCHAEOLOGY OF POETRY AND SOUND: A Conversation with Shannon Mattern.”