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This experimental narrative essay explores the confluence of writing, theorizing, and driving towards an intra-agential accounting of matter. In this practice of writing-as-(un)becoming, the narrator/scholar/subject is always already inhibited by her limited human subjectivity in comprehending materiality. Through a combination of genre and form (i.e. theatre, academic essay, confessional narrative) the novice scholar performs a playful engagement with new materialist and posthumanist concepts towards a kinship with her vehicle. In reaching towards posthuman materiality, the author/subject begins to lose grasp of her own subjectivity. "It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories" (Haraway, 2016, p. 12).The world in the becoming of these sentences is an ever-shifting assemblage, most of it beyond my ken, but which I will nevertheless attempt to describe here without getting tripped up too much upon the trouble: the trouble of language and representation and my own lack of knowledge, the trouble of knowing in the folds of my human mind/brain within the constant, relentlessly churning movement of time and the churning in my stomach, the limited parking on the curb and the cooling of coffee and my problematic though keenly felt love affair with Donna Haraway and how I pick and choose among her words those I will continue to become-with and those I will leave behind. She writes: "Alone, in our separate kinds of expertise and experience, we know both too much and too little, and so we succumb to despair or to hope, and neither is a sensible attitude" (Haraway, 2016, p. 4).Well, Donna, I have never been sensible. Mine is a hopeful despair, or a despairing hope. Although I agree that these binaries of affective relationality with the trouble constitute the trouble, or some of it anyway. "Neither despair nor hope is tuned to the senses, to mindful matter, to material semiotics, to mortal earthlings in thick copresence" (Haraway, 2016, p. 4). So, I will neither hope nor despair in my mortal mattering within the thick copresencing of these paragraphs. Donna's trouble, of course, is loftier than mine -it is fate-of-the-world trouble. It is existential-threat trouble. It is end-of-times trouble. Mine is modest, though perhaps entangled with the fate of the world. It is the trouble of my car and how to think it. There is no way in to what it is like for the car to matter, and yet, if we are to take on New Materialism for real, and not just as a metaphor for caring about the physical world, or as an admission that the assemblage of the moment is far more complex and commingled than is possible, let alone realistical, to describe (even if I had all the time and all the words in the world)-if I am to truly allow for a relational and agential realism (right down to the jar...

As visualization struggles to grasp the intricate and temporal networks of meaning found in textual data, sonification emerges as a creative and effective way of representing language. Accordingly, this paper seeks to introduce Singling, a textual sonification software that allows users to create and manipulate auditory representations of a text's lexicogrammatical properties. To achieve this, we first present Singling's main features and interface. We then discuss an example of using this sonification software to explore—both analytically and aesthetically—three different poems. Overall, this paper seeks to introduce researchers, educators, and artists to the many possibilities of Singling and the practice of textual sonification, which includes data analysis, multimodal and collaborative narrative creation, and musical performance to name a few.