Terminology note: By analogy with Barthes's lexias, I'd like to call those segments of auditory experience into which our hearing of a poem divides "audias" (singular: audia). I supply the following transcript, generated using the "label track" function of Audacity, as a way of beginning to think more seriously about how sentence, line, and audia interact and inform the analysis of poetry soundfiles. [Back to Lipstick of Noise.]

Rae Armantrout - Next Life

01) 00.628673 next life
02) 02.174592 last of all and
03) xx.xxxxxx most reluctantly
04) 04.684133 you said goodbye to
05) 05.931173 near and far away

06) 08.631378 fuzzy minded clouds sprout
07) 10.455561 from one another's foreheads
08) 12.439490 but you are more exact
09) 14.129694 you unzipped yourself
10) 15.423112 in the dark
11) 16.304286 back there
12) 17.082398 counted yourself
13) 17.958418 in half
14) 18.860204 and cut

15) 19.921735 that was before numbers

16) 22.106633 don't be a commodity
17) 23.497959 be a concept
18) 24.992347 a ghostly
19) 25.445816 configuration of points
20) 27.136020 or parts
21) 28.480969 trivia snippets
22) 29.784694 which appear inside locked cabinets

23) 32.423061 be untraceable
24) 33.608265 but easy to replicate
25) 35.293316 be relative
26) 36.597041 be twice as far
27) 37.797704 and halfway back