This an annotated recording featuring Anne Sexton reading at Sweetbriar in 1966. The recording is held as part of the Anne Sexton Papers at the Harry Ransom Center at the University of Texas, Austin.  The annotations were created by Dr. Tanya Clement.

These transcripts of video recordings from the Furious Flower Collection at James Madison University in Harrisburg Virginia were created by Evan Sizemore. The recordings from Furious Flower document interviews and readings by major African American poets, among them Rita Dove, Yusef Komunyakaa, Sonia Sanchez, and Major Jackson, accompanied by contextualizing information about them.

As part of the Latin American Programs of the Longhorn Radio Network, the Latin American Press Review radio program covered all of Latin America and the Caribbean, airing from 1973 to 1974. Divided into two segments, each program began with a news segment that highlighted a variety of reports from across Latin America, while the second half consisted of interviews or discussions with a variety of groups and/or individuals. A diverse number of topics were covered, including human rights abuses, economic conditions, music, popular culture, and the history and politics of the region.

Originally processed in 2010, digital reformatting of analog reel-to-reel audiotapes is ongoing. The annotations cover the programs released between 1973 to 1974. The highlighted annotations are the countries and communities that stood out throughout the segments included within these programs.

This comparison project by Luke Sumpter and Zoe Bursztajn-Illingworth showcases two different aspects of formal film analysis, editing and intertitle, within the 1916 silent film Shoes by Lois Weber. 

“Literary Sound Studies: English 483 Class Anthology” is a student-created AVAnnotate project in collaboration with Sam Turner that compiles course projects into a public anthology. It focuses on how literature is performed and heard, using time-coded annotations to analyze voice, rhythm, silence, and audience in recordings of poems and performances. The variety is striking: students explore spoken-word (Sarah Kay & Phil Kaye), contemporary popular music (Taylor Swift’s “Seven”), modern and postwar poetry (Maya Angelou, Audre Lorde, Allen Ginsberg, Wilfred Owen), Indigenous and experimental work (Louise Bernice Halfe, Charles Bernstein), diasporic and sound-poetry pieces (Suheir Hammad, Michael Basinski), and studies of dysfluency (JJJJerome Ellis). What’s most compelling is how the interface’s filters and timestamped notes promote close listening as a collaborative scholarly practice—making technical features like caesura, timbre, pitch, and audience sound clear and accessible to a general, knowledgeable audience.

In Vera Burrows’s AVAnnotate project “The Power and Reality of Radio During Revolution / El poder y la realidad de la radio durante revolución,” Burrows presents her research on a collection of civil war recordings from a Salvadoran rebel radio station, Radio Venceremos, to both anglophone and hispanophone audiences. She does so by creating two sets of annotations on the same audio events: one annotation set translates the transcripts of these Spanish recordings into English (useful for anglophone audiences) and the other presents contextualizing research on the violence of these recordings into Spanish (useful for hispanophone audiences). This project was originally built for AudiAnnotate, and was re-created with AVAnnotate by Jack D. Riordan.