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How authorship is made and named: a meta-aggregator / PennSound

PennSound

https://writing.upenn.edu/pennsound/

empirical comparatorAvant-garde and experimental archivesAttribution, credit and identity infrastructureactive
The archive's reading. The archive reads PennSound as a witness of a distinct type: a recording keeps the author's name, the performer's voice and a co-composer's credit as separate attributions, so a reading of one poet's work by another collapses into neither. Its filing rule is the poet's name; whether a chosen name is kept as given is not shown beyond the names it files under.
Relation to this censusempirical comparator
Record typeproject
The question it answersauthored performance: whose voice a recording carries and under whose name it is filed, with performer and author credited apart
Kindongoing project committed to producing new audio recordings and preserving existing audio archives; Wikipedia (third party) calls it a poetry website and online archive of recordings of poets reading their own work
Operatorthe Center for Programs in Contemporary Writing, University of Pennsylvania; directors Charles Bernstein, Al Filreis and Chris Mustazza, editor Michael S. Hennessey
Evidenceaudio recording; catalogue; critical commentary
Unit of recorda recording, broken down into singles (one poem) with complete readings also kept, filed on an author page, a series page, an anthology/collection/group page, the singles archive, Cinema, Podcasts or Classics
What it recordsrecordings of poets, historical and contemporary (the home page's selections run from Apollinaire, 1913, to work of 2016), readings and talks at the Kelly Writers House and reading series, radio programming (the Charles Ruas collection, 1970s to 2000s), poetry-and-music albums, video and podcasts
Whose authorship it keepspoets' readings of their own work and of others' work, with the performer named beside the author where they differ (John Clare's 'Vowelless Letter' performed by Charles Bernstein; Hannah Weiner's Clairvoyant Journal performed by Weiner, Sharon Mattlin and Rochelle Kraut); co-composers credited (music by Christopher Reiner, 'included with permission')
Under what nameunder the poet's name on an author page; Wikipedia (third party) reports the manifesto's rule that sound files be indexed and retrievable 'under the poet's name'; the saved sources state no policy on pseudonyms, heteronyms or collective names; series pages hold work under a series name (Belladonna*, Love Jawns: A Mixtape)
Who holds itthe Center for Programs in Contemporary Writing at Penn; recordings provided by the poets themselves, universities and institutions and poets' estates (Wikipedia, third party); free to download, for non-commercial use (Wikipedia, third party); the rights terms of individual recordings are not stated in the saved sources
Authorial function and responsibilityauthorship and performance credited apart: the author is named first and the performer after 'performed by' (Clare by Bernstein; Weiner with Mattlin and Kraut); a co-composer is credited for music and performance, 'included with permission'; the manifesto, per Wikipedia (third party), requires every file to be named and retrievable under the poet's name; responsibility for the rights of a recording is not stated
Methodproducing new recordings (Kelly Writers House events, Close Listening and other series) and preserving existing audio archives given by poets, institutions, estates and collectors; segmenting readings into singles; adding bibliographic documentation over time, with users invited to supplement it
Coveragegeography: not stated; recordings from the United States and elsewhere (Apollinaire, Khlebnikov, Schwitters, Bennett among the home page's selections); period: recordings from the 1910s onward; the project since 2005 (Wikipedia, third party)
Countvalue: not stated on PennSound's own saved pages; Wikipedia (third party) gives over 1500 full-length and single-poem recordings and, in another sentence, well over 50,000 sound files; as_of: Wikipedia page edited 2026-09-22
Holdingsauthor pages, series pages, anthologies/collections/groups, singles, Cinema, Classics, podcasts (PennSound Podcasts, PoemTalk, PennSound Rewind); the Charles Ruas collection of radio programming, launched 2026-03-27 with hundreds of recordings; the Eric Mottram Centennial Collection; per Wikipedia (third party), over 1500 full-length and single-poem recordings and well over 50,000 sound files
Stated limits'We intend to provide as much documentation about individual recordings as possible; new bibliographic information will be added over time'; the Charles Ruas collection 'is still under construction and over time will see more additions and improvements'
Data accessfree streaming and MP3 download; a search box; author, series, singles and anthology indexes
Licencenot stated on PennSound's saved pages; Wikipedia (third party) states the files are intended for non-commercial use
Lifecyclestate: active; detail: launched 2005 (Wikipedia, third party); PennSound Daily posts dated 11/12/2025 to 3/27/2026; the New at PennSound list includes a reading dated July 14, 2026
Version and timelatest_daily_post: 2026-03-27; latest_listed_recording: 2026-07-14; wikipedia_edited: 2026-09-22; read: 2026-11-01
Founded2005 (Wikipedia, third party)

What its record can settle

What it cannot settle

Kept apart

Relations

Evidence

Unchecked

the author pages, series pages and singles archive themselves; the PennSound Manifesto and the launch press release (linked from the About page; the manifesto is known here only from Wikipedia); any rights or permissions statement for the recordings; the About page's commented-out staff list, which the saved text carries alongside the live one

Cite: Lee Sharks, ed. "PennSound." How authorship is made and named: a meta-aggregator, leesharks.com, compiled 2026-11-01. https://www.leesharks.com/apparatus/aggregators/pennsound

LEE SHARKS · APPARATUS · META-AGGREGATOR · META-AGGREGATORS OF THE CRIMSON HEXAGON · COMPILED 2026-11-01 · CC BY 4.0

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