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    <fireside:genDate>Fri, 12 Jun 2026 05:44:51 -0500</fireside:genDate>
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    <title>Weird Studies - Episodes Tagged with “Writing”</title>
    <link>https://www.weirdstudies.com/tags/writing</link>
    <pubDate>Wed, 18 Dec 2024 10:30:00 -0500</pubDate>
    <description>Professor Phil Ford and writer J. F. Martel host a series of conversations on art and philosophy, dwelling on ideas that are hard to think and art that opens up rifts in what we are pleased to call "reality."</description>
    <language>en-us</language>
    <itunes:type>episodic</itunes:type>
    <itunes:subtitle>Art and philosophy at the limits of the thinkable</itunes:subtitle>
    <itunes:author>Phil Ford and J. F. Martel</itunes:author>
    <itunes:summary>Professor Phil Ford and writer J. F. Martel host a series of conversations on art and philosophy, dwelling on ideas that are hard to think and art that opens up rifts in what we are pleased to call "reality."</itunes:summary>
    <itunes:image href="https://media24.fireside.fm/file/fireside-images-2024/podcasts/images/e/e38b53e4-e148-4e2d-b301-0b3bb15779ff/cover.jpg?v=1"/>
    <itunes:explicit>yes</itunes:explicit>
    <itunes:keywords>weird, art, philosophy</itunes:keywords>
    <itunes:owner>
      <itunes:name>Phil Ford and J. F. Martel</itunes:name>
      <itunes:email>admin@weirdstudies.com</itunes:email>
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<itunes:category text="Arts"/>
<itunes:category text="Society &amp; Culture">
  <itunes:category text="Philosophy"/>
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<item>
  <title>Holiday Bonus: Waiting for the Next Sentence</title>
  <link>https://www.weirdstudies.com/181b</link>
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  <pubDate>Wed, 18 Dec 2024 10:30:00 -0500</pubDate>
  <author>Phil Ford and J. F. Martel</author>
  <enclosure url="https://aphid.fireside.fm/d/1437767933/e38b53e4-e148-4e2d-b301-0b3bb15779ff/a158e078-8d3e-4f97-b9d4-2c5193a04f84.mp3" length="64452495" type="audio/mpeg"/>
  <itunes:episodeType>full</itunes:episodeType>
  <itunes:author>Phil Ford and J. F. Martel</itunes:author>
  <itunes:subtitle>In this conversation originally recorded for members of the Weird Studies Patreon, JF and Phil discuss certain challenges of the writer's craft.</itunes:subtitle>
  <itunes:duration>44:43</itunes:duration>
  <itunes:explicit>yes</itunes:explicit>
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  <description>&lt;p&gt;With the next flagship show set to drop on January 8, 2025, we thought we'd tide you over with this conversation on the art and craft and writing, originally recorded for Listener's Tier patrons on the Weird Studies Patreon. &lt;/p&gt;

&lt;p&gt;To join our Patreon community, please visit &lt;a href="http://www.patreon.com/weirdstudies" target="_blank" rel="nofollow noopener"&gt;www.patreon.com/weirdstudies&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;To purchase tickets to Phil and JF's winter solstice celebration, happening on Weirdosphere on &lt;strong&gt;Thursday, December 19, at 8 pm Eastern&lt;/strong&gt;, please visit &lt;a href="http://www.weirdosphere.org" target="_blank" rel="nofollow noopener"&gt;www.weirdosphere.org&lt;/a&gt;.&lt;/p&gt;

&lt;p&gt;We wish you a happy and safe holiday season! The journey continues in 2025.&lt;/p&gt;
</description>
  <itunes:keywords>writing, inspiration, creative process, longhand, typewriters, organization, weird studies</itunes:keywords>
  <content:encoded>
    <![CDATA[<p>With the next flagship show set to drop on January 8, 2025, we thought we'd tide you over with this conversation on the art and craft and writing, originally recorded for Listener's Tier patrons on the Weird Studies Patreon. </p>

<p>To join our Patreon community, please visit <a href="http://www.patreon.com/weirdstudies" target="_blank" rel="nofollow noopener">www.patreon.com/weirdstudies</a>.</p>

<p>To purchase tickets to Phil and JF's winter solstice celebration, happening on Weirdosphere on <strong>Thursday, December 19, at 8 pm Eastern</strong>, please visit <a href="http://www.weirdosphere.org" target="_blank" rel="nofollow noopener">www.weirdosphere.org</a>.</p>

<p>We wish you a happy and safe holiday season! The journey continues in 2025.</p>]]>
  </content:encoded>
  <itunes:summary>
    <![CDATA[<p>With the next flagship show set to drop on January 8, 2025, we thought we'd tide you over with this conversation on the art and craft and writing, originally recorded for Listener's Tier patrons on the Weird Studies Patreon. </p>

<p>To join our Patreon community, please visit <a href="http://www.patreon.com/weirdstudies" target="_blank" rel="nofollow noopener">www.patreon.com/weirdstudies</a>.</p>

<p>To purchase tickets to Phil and JF's winter solstice celebration, happening on Weirdosphere on <strong>Thursday, December 19, at 8 pm Eastern</strong>, please visit <a href="http://www.weirdosphere.org" target="_blank" rel="nofollow noopener">www.weirdosphere.org</a>.</p>

<p>We wish you a happy and safe holiday season! The journey continues in 2025.</p>]]>
  </itunes:summary>
</item>
<item>
  <title>Episode 38: Style as Analysis</title>
  <link>https://www.weirdstudies.com/38</link>
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  <pubDate>Wed, 16 Jan 2019 10:30:00 -0500</pubDate>
  <author>Phil Ford and J. F. Martel</author>
  <enclosure url="https://aphid.fireside.fm/d/1437767933/e38b53e4-e148-4e2d-b301-0b3bb15779ff/2ab94660-59a1-47dc-a8ba-9cdde1974fad.mp3" length="84316431" type="audio/mp3"/>
  <itunes:episode>38</itunes:episode>
  <itunes:title>Style as Analysis</itunes:title>
  <itunes:episodeType>full</itunes:episodeType>
  <itunes:author>Phil Ford and J. F. Martel</itunes:author>
  <itunes:subtitle>Phil and JF discuss a recently published article of Phil's authorship on how to write about music.</itunes:subtitle>
  <itunes:duration>1:10:15</itunes:duration>
  <itunes:explicit>yes</itunes:explicit>
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  <description>&lt;p&gt;Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world.&lt;/p&gt;

&lt;p&gt;&lt;strong&gt;SHOW NOTES&lt;/strong&gt;&lt;/p&gt;

&lt;p&gt;Phil Ford, "Style as Analysis" in &lt;em&gt;&lt;a href="https://www.routledge.com/The-Routledge-Companion-to-Popular-Music-Analysis-Expanding-Approaches/Scotto-Smith-Brackett/p/book/9781138683112" target="_blank" rel="nofollow noopener"&gt;The Routledge Companion to Popular Music Analysis: Expanding Approaches&lt;/a&gt;&lt;/em&gt;, edited by Ciro Scotto, Kenneth M. Smith and John Brackett&lt;br&gt;
Christopher Ricks, &lt;em&gt;&lt;a href="https://en.wikipedia.org/wiki/Dylan%27s_Visions_of_Sin" target="_blank" rel="nofollow noopener"&gt;Dylan's Vision of Sin&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Ferrucio Busoni, &lt;a href="https://www.gutenberg.org/files/31799/31799-h/31799-h.htm" target="_blank" rel="nofollow noopener"&gt;&lt;em&gt;Sketch of a New Esthetic of Music&lt;/em&gt;&lt;/a&gt;&lt;br&gt;
Susan McClary, &lt;em&gt;&lt;a href="https://www.upress.umn.edu/book-division/books/feminine-endings" target="_blank" rel="nofollow noopener"&gt;Feminine Endings: Music, Gender, and Sexuality&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Hans Ulrich Gumbrecht, &lt;em&gt;&lt;a href="https://www.sup.org/books/title/?id=1360" target="_blank" rel="nofollow noopener"&gt;Production of Presence: What Meaning Cannot Convey&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Phil Ford, &lt;em&gt;&lt;a href="https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6" target="_blank" rel="nofollow noopener"&gt;Dig: Sound and Music in Hip Culture&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Jerry Hopkins, &lt;em&gt;&lt;a href="https://en.wikipedia.org/wiki/No_One_Here_Gets_Out_Alive" target="_blank" rel="nofollow noopener"&gt;No One Here Gets Out Alive&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Brian Eno, &lt;em&gt;&lt;a href="https://en.wikipedia.org/wiki/Another_Green_World" target="_blank" rel="nofollow noopener"&gt;Another Green World&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Mitchell Morris, &lt;em&gt;&lt;a href="http://california.universitypressscholarship.com/view/10.1525/california/9780520242852.001.0001/upso-9780520242852" target="_blank" rel="nofollow noopener"&gt;The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
William Youngren, “Balliett’s Bailiwick,” Partisan Review 32, no. 1 (Winter 1965)&lt;br&gt;
Whitney Balliett, &lt;a href="https://www.goodreads.com/book/show/1168302.Collected_Works" target="_blank" rel="nofollow noopener"&gt;&lt;em&gt;Collected Works&lt;/em&gt;&lt;/a&gt;&lt;br&gt;
E.M. Forster, &lt;em&gt;&lt;a href="https://en.wikipedia.org/wiki/Aspects_of_the_Novel" target="_blank" rel="nofollow noopener"&gt;Aspects of the Novel&lt;/a&gt;&lt;/em&gt;&lt;br&gt;
Henri Bergson, &lt;em&gt;&lt;a href="https://en.wikipedia.org/wiki/Matter_and_Memory" target="_blank" rel="nofollow noopener"&gt;Matter and Memory&lt;/a&gt;&lt;/em&gt;&lt;/p&gt;
</description>
  <itunes:keywords>pop music analysis, music writing, musicology</itunes:keywords>
  <content:encoded>
    <![CDATA[<p>Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world.</p>

<p><strong>SHOW NOTES</strong></p>

<p>Phil Ford, "Style as Analysis" in <em><a href="https://www.routledge.com/The-Routledge-Companion-to-Popular-Music-Analysis-Expanding-Approaches/Scotto-Smith-Brackett/p/book/9781138683112" target="_blank" rel="nofollow noopener">The Routledge Companion to Popular Music Analysis: Expanding Approaches</a></em>, edited by Ciro Scotto, Kenneth M. Smith and John Brackett<br>
Christopher Ricks, <em><a href="https://en.wikipedia.org/wiki/Dylan%27s_Visions_of_Sin" target="_blank" rel="nofollow noopener">Dylan's Vision of Sin</a></em><br>
Ferrucio Busoni, <a href="https://www.gutenberg.org/files/31799/31799-h/31799-h.htm" target="_blank" rel="nofollow noopener"><em>Sketch of a New Esthetic of Music</em></a><br>
Susan McClary, <em><a href="https://www.upress.umn.edu/book-division/books/feminine-endings" target="_blank" rel="nofollow noopener">Feminine Endings: Music, Gender, and Sexuality</a></em><br>
Hans Ulrich Gumbrecht, <em><a href="https://www.sup.org/books/title/?id=1360" target="_blank" rel="nofollow noopener">Production of Presence: What Meaning Cannot Convey</a></em><br>
Phil Ford, <em><a href="https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6" target="_blank" rel="nofollow noopener">Dig: Sound and Music in Hip Culture</a></em><br>
Jerry Hopkins, <em><a href="https://en.wikipedia.org/wiki/No_One_Here_Gets_Out_Alive" target="_blank" rel="nofollow noopener">No One Here Gets Out Alive</a></em><br>
Brian Eno, <em><a href="https://en.wikipedia.org/wiki/Another_Green_World" target="_blank" rel="nofollow noopener">Another Green World</a></em><br>
Mitchell Morris, <em><a href="http://california.universitypressscholarship.com/view/10.1525/california/9780520242852.001.0001/upso-9780520242852" target="_blank" rel="nofollow noopener">The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s</a></em><br>
William Youngren, “Balliett’s Bailiwick,” Partisan Review 32, no. 1 (Winter 1965)<br>
Whitney Balliett, <a href="https://www.goodreads.com/book/show/1168302.Collected_Works" target="_blank" rel="nofollow noopener"><em>Collected Works</em></a><br>
E.M. Forster, <em><a href="https://en.wikipedia.org/wiki/Aspects_of_the_Novel" target="_blank" rel="nofollow noopener">Aspects of the Novel</a></em><br>
Henri Bergson, <em><a href="https://en.wikipedia.org/wiki/Matter_and_Memory" target="_blank" rel="nofollow noopener">Matter and Memory</a></em></p>]]>
  </content:encoded>
  <itunes:summary>
    <![CDATA[<p>Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world.</p>

<p><strong>SHOW NOTES</strong></p>

<p>Phil Ford, "Style as Analysis" in <em><a href="https://www.routledge.com/The-Routledge-Companion-to-Popular-Music-Analysis-Expanding-Approaches/Scotto-Smith-Brackett/p/book/9781138683112" target="_blank" rel="nofollow noopener">The Routledge Companion to Popular Music Analysis: Expanding Approaches</a></em>, edited by Ciro Scotto, Kenneth M. Smith and John Brackett<br>
Christopher Ricks, <em><a href="https://en.wikipedia.org/wiki/Dylan%27s_Visions_of_Sin" target="_blank" rel="nofollow noopener">Dylan's Vision of Sin</a></em><br>
Ferrucio Busoni, <a href="https://www.gutenberg.org/files/31799/31799-h/31799-h.htm" target="_blank" rel="nofollow noopener"><em>Sketch of a New Esthetic of Music</em></a><br>
Susan McClary, <em><a href="https://www.upress.umn.edu/book-division/books/feminine-endings" target="_blank" rel="nofollow noopener">Feminine Endings: Music, Gender, and Sexuality</a></em><br>
Hans Ulrich Gumbrecht, <em><a href="https://www.sup.org/books/title/?id=1360" target="_blank" rel="nofollow noopener">Production of Presence: What Meaning Cannot Convey</a></em><br>
Phil Ford, <em><a href="https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6" target="_blank" rel="nofollow noopener">Dig: Sound and Music in Hip Culture</a></em><br>
Jerry Hopkins, <em><a href="https://en.wikipedia.org/wiki/No_One_Here_Gets_Out_Alive" target="_blank" rel="nofollow noopener">No One Here Gets Out Alive</a></em><br>
Brian Eno, <em><a href="https://en.wikipedia.org/wiki/Another_Green_World" target="_blank" rel="nofollow noopener">Another Green World</a></em><br>
Mitchell Morris, <em><a href="http://california.universitypressscholarship.com/view/10.1525/california/9780520242852.001.0001/upso-9780520242852" target="_blank" rel="nofollow noopener">The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s</a></em><br>
William Youngren, “Balliett’s Bailiwick,” Partisan Review 32, no. 1 (Winter 1965)<br>
Whitney Balliett, <a href="https://www.goodreads.com/book/show/1168302.Collected_Works" target="_blank" rel="nofollow noopener"><em>Collected Works</em></a><br>
E.M. Forster, <em><a href="https://en.wikipedia.org/wiki/Aspects_of_the_Novel" target="_blank" rel="nofollow noopener">Aspects of the Novel</a></em><br>
Henri Bergson, <em><a href="https://en.wikipedia.org/wiki/Matter_and_Memory" target="_blank" rel="nofollow noopener">Matter and Memory</a></em></p>]]>
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