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.]

Kit Robinson - "Return on Word"

01) 00.16 return on word
02) 03.04 if we look in the direction
03) 04.82 these words will have to do
04) 06.66 adding to the enormous burden of words
05) 09.51 the entire concept is entirely too conceptual
06) 12.74 all we need is a few good words
07) 14.82 anybody can relate to
08) 16.30 to declare an identity noone can take away
09) 19.29 but which ones?
10) 20.66 a handful of interest
11) 22.24 several people in a room
12) 23.89 for several hours
13) 25.14 couldn't come up with
14) 26.65 the point is to decide
15) 28.37 then move as one
16) 29.76 up and down in an altered state
17) 32.63 this is easier said than done
18) 34.82 we are getting close
19) 36.31 very close
20) 37.64 we are getting better
21) 39.29 we are going to have a great year
22) 42.14 there is going to be hell to pay
23) 44.44 it's gonna be a fuckin bloodbath
xx) 46.93 [audience laughter]
24) 48.19 then
25) 48.82 the return to words
26) 50.53 thought has taken a contract out on
27) 52.99 and the ability to quietly move on
xx) 55.50 <end>