[{"data":1,"prerenderedAt":199},["ShallowReactive",2],{"article:lateral-beaming-a-conversational-portrait-of-the-diffuse-supports-of-archivist-editor-musician-shyla-seller":3,"page:48":126,"page:321":162},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":33,"finalContentHtml":34,"creditsHtml":22,"pdfUrl":35,"vimeo":35,"contributorBios":36,"seo":45},719,"lateral-beaming-a-conversational-portrait-of-the-diffuse-supports-of-archivist-editor-musician-shyla-seller","Lateral Beaming: a conversational portrait of the diffuse supports of archivist, editor, musician Shyla Seller","\u003Cp>Songwriter and musician, Carey Mercer interviews archivist, editor, musician, Shyla Seller.\u003C\u002Fp>\n","2021-04-19T11:48:00",2021,"Apr 2021",[12],5,[14],"Interview",2616,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-50.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-50-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-50-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-50.jpg 1920w",1920,1080,"","data:image\u002Fwebp;base64,UklGRnAAAABXRUJQVlA4IGQAAACQBACdASogABIAPuVepU2pJSOiMAwBIByJZwDIXCHfLkRuk2UmOznMfaq3c4AA\u002FtkxkYLn5Eno8B27eKyAgCaEICKi\u002Fb7rbJ2PlyZK3HP93DeAIRa5kKdoXsWakNi+hopyHfgA",[25,29],{"id":26,"name":27,"slug":28},506,"Carey Mercer","carey-mercer",{"id":30,"name":31,"slug":32},720,"Shyla Seller","shyla-seller","\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRtoAAABXRUJQVlA4IM4AAAAQBQCdASogABIAPu1mqk2ppaQiMAgBMB2JaQAIFo6RWrzO0fO5VUjCn7Ri\u002Fx1WxWMAAP7mynarWMe3HZvr6qxp8Ej3fwuAqdVM9PKLImIHlXbUoiWey7rGbsQRR55pkHvoFjeo3MVEqCXVdoCSs+Li39vvvl9r93\u002FYL3yCwDDxcQyQoaxgpZ\u002F6otiPUec0bQnRTlInpZ0ZyTdmMMbHr62WAj6gaVHpap6Lspi\u002FyiIZYpxTeb6mlMNrpY7+0nR2+aVyws6WCRhj9OT0A2AAAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareshyla-secondary.jpg\" alt=\"Carey & Shyla Secondary Image\" class=\"lqip wp-image-721\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareshyla-secondary.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareshyla-secondary-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareshyla-secondary-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareshyla-secondary-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Frog Eyes at the Garrison in Toronto, 2018.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>Ten years ago I washed up in Vancouver, and was invited to a surprise birthday party for an old friend at a ‘craft brewery,’ whatever that is. The night wore on and I got to talking to a friend of mine, Shyla Seller (SS). I knew Shyla as a friend, but also as a person who: worked at \u003C\u002Fem>Arsenal Pulp Press\u003Cem>, who seemed to go to every show, even the atonal ones, who was interested in Canadian poetry, who liked art videos and wasn’t solely invested in achieving a life goal of purchasing a townhouse in Langley. In our chatting, it come up that she was the daughter of a piano teacher. I jokingly recommended she watch \u003C\u002Fem>The Piano Teacher \u003Cem>with her mom (and they did), and also asked her if she would ever want to make sounds with my ‘band.’ We have worked together now for the last decade, releasing a fistful of records and books, contributing energy and labour in playing, editing, proofreading, and image layout. The sum of her contributions to the city’s writing, music and visual arts scenes exceeds our word count — to me she is both that archetypal and crucial person whose contributions are ‘behind the curtains,’ and therefore somewhat unsung. Shyla is a really special person when we stop and recognize her work — paid and unpaid — in archives, in music, in preserving weird concerts and maintaining 1980s video decks, etc., speak to and consider the importance of collaboration, lateral thinking, and funding. Our conversation ranges from her work as an archivist, to collecting erasers, to partying at the Sugar Refinery, to digitizing that great Young Marble Giants concert, to missing each other.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> I know you have kept lots of little things from when you were a kid. I know this because you gave my son a box of precious 80’s erasers from when you were, I assume, 8 years old. So I am curious if it is fairly typical for archivists to hold onto boxes of items, ephemera, the detritus that other kids of your age would have not thought to keep?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS:\u003C\u002Fstrong> It was my mother who held onto all of those things from when I was a child! Speaking as an archivist, I consider many of those things as belonging to her rather than me, as I wasn’t key in the circumstances of their creation and use at the time. She made them for me, and later transferred their ownership to me, and by transferring that ownership she also transferred to me the work of deciding whether or not to continue to keep them. Lots of people don’t have space to keep the things which accumulate over a lifetime; stable housing and available space are significant factors that determine personal archives, more so than what your job is, I think.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> Do archivists ever become self-conscious about saving their own artifacts? I would enjoy seeing, say, Kafka’s erasers from when he was 9? But you and I were not Kafka, and Kafka, age 9, was not The Franz Kafka yet, and so how would he have known to save his erasers in a sturdy cardboard box and write, in big loopy script, his own name and age on the side of the box?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS:\u003C\u002Fstrong> I try to leave \u003Ca href=\"http:\u002F\u002Fwww.getty.edu\u002Fvow\u002FAATFullDisplay?find=artifact&logic=AND&note=&english=N&prev_page=1&subjectid=300117127\" target=\"_blank\" rel=\"noreferrer noopener\">artifacts\u003C\u002Fa> to museum people and distinguish between archives and museum and library collection holdings, but this is often blurry and confusing. This is a definition of archives I learned in school: \u003Cem>The whole of the documents made and received by a juridical or physical person or organization in the conduct of affairs, and preserved. \u003C\u002Fem>There’s a lot to unpack in that definition, it’s strange. My approach is to focus on unique documents and photographs as evidence of something. For things like that eraser collection, I compiled that out of mass-produced items that are not unique, so I wouldn’t consider it as archival. Also my name is spelled wrong on that box, and I don’t recognize the handwriting. I’m not sure what that box of erasers is evidence of, other than a glimpse of a child’s treasured and kitschy world of things.\u003C\u002Fp>\n\n\n\n\u003Cfigure class=\"wp-block-image size-large\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRrYAAABXRUJQVlA4IKoAAAAwBQCdASogABIAPuVepU2pJSOiMAwBIByJQBmDg+xY8x6Fk9+Cqq4RXXiaeBCBLEi7AAD+cbmhUtXMWthblnzeLLP8cix5r6Q34xDfx2OA6xjWN7AZoF3bn7DusQObvlxkXYq23\u002FvJmlFR7c0zocRfmFmob5\u002FzxRrWrqZgJfgFdEJtKDux2DJtZGAr8HErKMMfZ8uRRcoh6vgyFsq+pHOJxMM+Sby5KI4AAA=='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-100.jpg\" alt=\"Shyla Seller Feature Image\" class=\"lqip wp-image-723\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-100.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-100-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-100-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2021\u002F04\u002Fcareyshyla-100-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003Cfigcaption>Erasers with box and handwriting.\u003C\u002Ffigcaption>\u003C\u002Ffigure>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">\u003Cem>“…whether or not I think something is beautifully crafted doesn’t come into play in how I present something in the archives to a user.”\u003C\u002Fem> — SS\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> Can you talk about your deliberations when you are archiving art\u002Fliterature in particular, as opposed to say a family letter or an object like an heirloom violin? I brought up Kafka before, in part because you had sent me some links of the unpublished writing of \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fcollections.vhec.org\u002FDetail\u002Fcollections\u002F844\" target=\"_blank\">Mottel Menczer\u003C\u002Fa> and I found these little stories haunting in the way that Kafka’s parables or Robert Walser’s stories can be startling, all the more so because they are Holocaust fragments, and slightly phantasmagorical in how they refer to the Nazis as The Monsters. They are historical documents, but they are also clearly literature. Can you speak to that process?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS: \u003C\u002Fstrong>Yes, those Menczer stories are haunting and lyrical, even in translation — by all accounts the original Yiddish is more elegant; he is a natural oral storyteller, like you. It was a lot of work to figure those out. The section headers weren’t translated, so we had a wonderful volunteer translate those, and that work made it so I could understand the author’s intentions and order of the stories in that manuscript. I didn’t even know that some pages were section headers until after the volunteer’s work. The originals and translations were filed together in one file folder, and I had to match each translation to each Yiddish-language original, by trying to recognize the shape of the letter forms.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The VHEC has a number of memoirs, diaries and journals, but this manuscript is extra special. I am a big reader and like hearing people’s stories, so this collection was a real pleasure to work on, even though the language barrier drove me a bit nuts, and even though stories are deeply sad.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">When I’m working with archival material, I try and understand what something is, what is its form, how was it created and used, and then clearly convey that information to the user of the catalogue. It’s a very precise and pared-down form of writing; I try to avoid misrepresenting the things and misleading researchers. So whether or not I think something is beautifully crafted doesn’t come into play in how I present something in the archives to a user, but later, I can highlight an extra special thing to a curator, or to other potentially interested people, and see where they take it.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM: \u003C\u002Fstrong>When you worked at the Western Front you found a video copy of a Young Marble Giants concert, right? How did you find it? I know you are a fan — I like the idea of you just thumbing through the stacks of weird and antiquated tapes and asking yourself, “Could this one, labelled YMG, be what I think it is? Could you give us the blow by blow of how that amazing concert was preserved and then digitized?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS: \u003C\u002Fstrong>That’s pretty much how I found it — looking through the videos (U-Matics, some open reel) on \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Ffront.bc.ca\u002Fevents\u002F50-years-of-western-front-transfer-access-and-preservation\u002F\" target=\"_blank\">these shelves\u003C\u002Fa>, and reading the spines. Though now that I think about it, I’m pretty sure I heard a staff rumour about the existence of that tape, and kept my eyes open for it. The curator at the time, Pablo de Ocampo, was also a fan; I’d found the band on Facebook, and messaged Stuart Moxham, the bass player, who was excited about seeing the recording. So one day, close to the end of my time there, I digitized it, and sent the band a copy.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">There are so many performances held at the Front I wish I could have seen in person. Like David Rosenboom, for example; I digitized one of his concerts for an exhibition of his work on brainwave music at the Centre Pompidou. There is an amazing performance with him and George Lewis, as part of SFU’s summer music intensive program, that made me wish I’d kept studying music so I would’ve ended up in SFU’s music program. But as a teen I was convinced I wasn’t talented enough of a player to continue — it was so much work to keep up technique and learn these difficult classical pieces. I guess I was a bit lazy, but also shy, mopey, and not confident in music as a future for myself.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM: \u003C\u002Fstrong>You are a piano player, taught by your mother, whose occupation was a piano teacher. How did she come to music? And was it a given that you would learn too? I ask because we grew up in opposite environments — my dad refused to teach us or encourage us to learn how to “read” music. He wanted us to not know anything about music. Was it part of the weave and fabric of your young life?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS:\u003C\u002Fstrong> My mom first learned piano as a child; growing up Mennonite in southern Manitoba, she would accompany people singing in church. She can accompany anyone still — Christmas carols, etc., her hands automatically know what to do and how to keep up, where to go. She started studying piano again in the lead-up to her divorce, in order to earn an income. As a single mother, she passed the Royal Conservatory of Music ARCT exam, which qualifies you as a teacher. Then from 3:30 until 8:30 every weekday evening she would teach private lessons and I would watch soaps or music videos or do homework upstairs. She booked half an hour off for dinner, so we all got really good at eating and cleaning up super quick (I still eat embarrassingly fast). But she refused to teach me piano — she didn’t think I would listen to her.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> Can you talk about the different competencies between say, playing a piece of solo piano music at someone’s wedding (a noble action), and playing a synthesizer with a band? Have there been inspirational and\u002For aspirational moments for you, seeing someone play, that directly impacted how you approach your instrument?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS: \u003C\u002Fstrong>Playing together in a band is so different; sharing the creation of sound between you, rather than all the spotlight being on one person in a quiet room. I like hearing how things mesh together, and feeling the music, surrounded by loud amps, the volume and electricity. One aspirational moment was seeing Wayne Horvitz play from the Snowghost Sessions in Bellingham. This was the first time I saw him incorporate electronics and pedals, along with his exquisite piano; it made me want to try and explore my own version of electronics in music, learn the synth better, the envelopes, modulations and effects. Also, I’m a terrible sleeper, usually stressed out, and somehow deep long drones with weird sparkle and pattern make me feel calmer than anything else. For a while I got into musicians like Eliane Radigue, Laurie Spiegel, Luc Ferrari, Jon Hassell — and was inspired to try a solo synth performance as part of Musicircus, organized by the Polygon Gallery in 2019. I then explored this more in a \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Fwww.youtube.com\u002Fplaylist?list=PL3ca6D_p-sWaxmx_YPrIvQfmlYYUm8sAt\" target=\"_blank\">collaboration with Jenn Pearson\u003C\u002Fa>, in which I created soundtracks for short videos that she had shot on her phone.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">(But maybe a better inspirational moment to mention is the second-ever Frog Eyes show at the Sugar Refinery. I helped load your gear into the van after the show, crammed in with all our friends to go to an afterparty somewhere, to celebrate until the early morning hours…)\u003C\u002Fp>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">\u003Cem>“The great need for volunteers reflects the state of not-for-profit arts funding in Canada — no one has enough money to pay people for all the work that is behind music, art and literary projects.”\u003C\u002Fem> — SS\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> Speaking of the synthesizer, didn’t you help with the archiving of Martin Bartlett’s work at the Western Front and SFU Archives? I was just reading about Computer Music Cabaret, concerts he gave with Don Buchla.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS:\u003C\u002Fstrong> I love Martin Bartlett’s work — and have been lucky enough to digitize both video and audio recordings of his performances. He would bring in people like David Rosenboom, George Lewis, Don Buchla, Pauline Oliveros, etc., for concerts and workshops. He is also partly responsible for bringing gamelan to Vancouver. He built his own synthesizer, the Black Box, which is now in SFU Library’s Special Collections and Rare Books. I worked there briefly when Luke Fowler and Allison Collins were doing research for Fowler’s film \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=7QTX_pYZfzM\" target=\"_blank\" rel=\"noreferrer noopener\">Electro-Pythagorus\u003C\u002Fa>, and prepared some materials for their visit. But I would love to spend more time with Bartlett’s archives one day. The Western Front continues to be one of my favourite places in the city to see a concert, and this is in part because of what he started there, as one of the original founders.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>CM:\u003C\u002Fstrong> We’ve talked about your paid work a bit, at the Western Front and the Vancouver Holocaust Education Center. Can we talk about archival, layout or editing projects that you do for free? I thought about this interview as focusing on someone who contributes a lot behind the scenes. You rarely step out and deliver the soliloquy, (though if you did it would be awesome), but without all of your unpaid labour, a lot of works wouldn’t have appeared, at least in their finest, shiniest, grammatically precise duds. Do you actively volunteer for projects? Are you known as a person that helps, and people come to you?\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>SS: \u003C\u002Fstrong>I started volunteering for Songlines Recordings in 1998, and basically never stopped. I volunteer with \u003Cem>Archivaria\u003C\u002Fem>, the Journal of the Association of Canadian Archivists, to give back to my professional community a bit, and am an occasional courier for \u003Ca rel=\"noreferrer noopener\" href=\"https:\u002F\u002Feverybodyisin.org\u002F\" target=\"_blank\">Everybody Is In\u003C\u002Fa>. Sometimes I write unpaid reviews for \u003Cem>Archivaria\u003C\u002Fem> and \u003Cem>Geist\u003C\u002Fem>. But the most volunteering I’ve done is for friends or colleagues who’ve asked me. For a while people would say: You should do this for free because it’ll look good on your resume. Then they would tell me I should do something for free because it will be fun and I will get to meet people and chat with friends. This is a better reason to volunteer, if you like hanging out at events and want to feel part of something. The great need for volunteers reflects the state of not-for-profit arts funding in Canada — no one has enough money to pay people for all the work that is behind music, art and literary projects. The people running these projects barely see any income from them. Volunteer work is how they continue to scrape by, trying to survive in a city driven by real estate tycoons with lots of profit to make for themselves. Arts communities can make a place better, help bring people together to share experiences, learn, build connections and support one another, but the positions I’ve had in the arts (before retraining as an archivist) were always highly skilled, underpaid, and involved lots of volunteering on the side. I’ve rarely earned income from anything to do with music, for example. There’s not really a budget for thinking up illustrations for covers, or proofreading cover text and lyrics. I still feel lucky to be able to be part of projects, like yours, that I find meaningful. Ideally I would like to focus both my volunteer and paid time on things that advocate in some way for a more equitable future, but also to have fun, and afford rent.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:60px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Frog Eyes at the Garrison in Toronto, 2018. Photo: Zahra Habib. Courtesy of Shyla Seller.\u003C\u002Fli>\n\u003Cli>Erasers and box with handwriting, collected by Shyla Seller, gifted to Ivan Mercer. Photo: Carey Mercer. Courtesy of Ivan Mercer.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[37,41],{"id":26,"slug":28,"name":27,"firstName":38,"lastName":39,"bioHtml":40},"Carey","Mercer","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Carey Mercer\u003C\u002Fstrong> is a songwriter and musician, currently working on the unceded lands be​longing to the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səlil̓wətaʔɬ\u002FSelilwitulh (Tsleil-Waututh) First Nations. Since 2001, Mercer has produced a steady stream of albums, releasing records under the names Soft Plastics, Frog Eyes, Blackout Beach, and Swan Lake. Mercer has published one book of essays and stories and had work published in \u003Cem>McSweeney’s\u003C\u002Fem>, \u003Cem>The Talkhouse\u003C\u002Fem>, and other various publications. Mercer is currently working on more music in the early and late hours of most days.\u003C\u002Fp>\n",{"id":30,"slug":32,"name":31,"firstName":42,"lastName":43,"bioHtml":44},"Shyla","Seller","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Shyla Seller\u003C\u002Fstrong> is an archivist and editor living and working on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh First Nations in Vancouver. She plays music with Carey Mercer and Melanie Campbell and sometimes writes for publications like \u003Cem>Zachor\u003C\u002Fem>, \u003Cem>Geist\u003C\u002Fem> and \u003Cem>Archivaria\u003C\u002Fem>.\u003C\u002Fp>\n",{"title":46,"robots":47,"og_locale":53,"og_type":54,"og_title":46,"og_description":55,"og_url":56,"og_site_name":57,"article_publisher":58,"article_modified_time":59,"og_image":60,"twitter_card":63,"twitter_site":64,"twitter_misc":65,"schema":67},"Lateral Beaming: a conversational portrait of the diffuse supports of archivist, editor, musician Shyla Seller - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Songwriter and musician, Carey Mercer interviews archivist, editor, musician, Shyla Seller.","https:\u002F\u002Freissue.pub\u002Farticles\u002Flateral-beaming-a-conversational-portrait-of-the-diffuse-supports-of-archivist-editor-musician-shyla-seller\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2021-04-19T19:02:37+00:00",[61],{"width":20,"height":21,"url":18,"type":62},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":66},"13 minutes",{"@context":68,"@graph":69},"https:\u002F\u002Fschema.org",[70,85,87,101,116],{"@type":71,"@id":56,"url":56,"name":46,"isPartOf":72,"primaryImageOfPage":74,"image":76,"thumbnailUrl":18,"datePublished":77,"dateModified":59,"breadcrumb":78,"inLanguage":80,"potentialAction":81},"WebPage",{"@id":73},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":75},"https:\u002F\u002Freissue.pub\u002Farticles\u002Flateral-beaming-a-conversational-portrait-of-the-diffuse-supports-of-archivist-editor-musician-shyla-seller\u002F#primaryimage",{"@id":75},"2021-04-19T18:48:00+00:00",{"@id":79},"https:\u002F\u002Freissue.pub\u002Farticles\u002Flateral-beaming-a-conversational-portrait-of-the-diffuse-supports-of-archivist-editor-musician-shyla-seller\u002F#breadcrumb","en-US",[82],{"@type":83,"target":84},"ReadAction",[56],{"@type":86,"inLanguage":80,"@id":75,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":88,"@id":79,"itemListElement":89},"BreadcrumbList",[90,95,99],{"@type":91,"position":92,"name":93,"item":94},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":91,"position":96,"name":97,"item":98},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":91,"position":100,"name":6},3,{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":104,"potentialAction":106,"inLanguage":80},"WebSite","critical discourse for experimental art practices",{"@id":105},"https:\u002F\u002Freissue.pub\u002F#organization",[107],{"@type":108,"target":109,"query-input":112},"SearchAction",{"@type":110,"urlTemplate":111},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":113,"valueRequired":114,"valueName":115},"PropertyValueSpecification",true,"search_term_string",{"@type":117,"@id":105,"name":57,"url":94,"logo":118,"image":122,"sameAs":123},"Organization",{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":20,"height":121,"caption":57},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":119},[58,124,125],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":127,"slug":128,"title":93,"contentHtml":22,"acf":129,"backgroundBlur":132,"seo":133},48,"home",{"background_image":130,"isBlack":16,"header_text":131},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":134,"robots":135,"og_locale":53,"og_type":54,"og_title":134,"og_url":136,"og_site_name":57,"article_publisher":58,"article_modified_time":137,"twitter_card":63,"twitter_site":64,"schema":138},"Home - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":68,"@graph":139},[140,148,152,158],{"@type":71,"@id":136,"url":136,"name":134,"isPartOf":141,"datePublished":142,"dateModified":137,"breadcrumb":143,"inLanguage":80,"potentialAction":145},{"@id":73},"2018-04-21T23:04:08+00:00",{"@id":144},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[146],{"@type":83,"target":147},[136],{"@type":88,"@id":144,"itemListElement":149},[150,151],{"@type":91,"position":92,"name":93,"item":94},{"@type":91,"position":96,"name":93},{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":153,"potentialAction":154,"inLanguage":80},{"@id":105},[155],{"@type":108,"target":156,"query-input":157},{"@type":110,"urlTemplate":111},{"@type":113,"valueRequired":114,"valueName":115},{"@type":117,"@id":105,"name":57,"url":94,"logo":159,"image":160,"sameAs":161},{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":20,"height":121,"caption":57},{"@id":119},[58,124,125],{"id":163,"slug":164,"title":165,"contentHtml":166,"acf":16,"backgroundBlur":35,"seo":167},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. Any donation will go towards: 1) paying our contributors; 2) maintaining the site; 3) physical publications and events—in that order of importance.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">To donate, contact: \u003Ca href=\"mailto:editor@reissue.pub\" rel=\"nofollow\">editor@reissue.pub\u003C\u002Fa>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Sign up for our email newsletter\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003C\u002Fp>\n",{"title":168,"robots":169,"og_locale":53,"og_type":54,"og_title":168,"og_description":170,"og_url":171,"og_site_name":57,"article_publisher":58,"article_modified_time":172,"twitter_card":63,"twitter_site":64,"twitter_misc":173,"schema":175},"Subscription Banner - ReIssue",{"index":48,"follow":49,"max-snippet":50,"max-image-preview":51,"max-video-preview":52},"ReIssue is unfunded, wild and free. Any donation will go towards: 1) paying our contributors; 2) maintaining the site; 3) physical publications and events—in that order of importance. To donate, contact: editor@reissue.pub Sign up for our email newsletter","https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F","2026-11-13T20:28:08+00:00",{"Est. reading time":174},"1 minute",{"@context":68,"@graph":176},[177,185,189,195],{"@type":71,"@id":171,"url":171,"name":168,"isPartOf":178,"datePublished":179,"dateModified":172,"breadcrumb":180,"inLanguage":80,"potentialAction":182},{"@id":73},"2020-12-15T23:44:21+00:00",{"@id":181},"https:\u002F\u002Freissue.pub\u002Fsubscription-banner\u002F#breadcrumb",[183],{"@type":83,"target":184},[171],{"@type":88,"@id":181,"itemListElement":186},[187,188],{"@type":91,"position":92,"name":93,"item":94},{"@type":91,"position":96,"name":165},{"@type":102,"@id":73,"url":94,"name":57,"description":103,"publisher":190,"potentialAction":191,"inLanguage":80},{"@id":105},[192],{"@type":108,"target":193,"query-input":194},{"@type":110,"urlTemplate":111},{"@type":113,"valueRequired":114,"valueName":115},{"@type":117,"@id":105,"name":57,"url":94,"logo":196,"image":197,"sameAs":198},{"@type":86,"inLanguage":80,"@id":119,"url":120,"contentUrl":120,"width":20,"height":121,"caption":57},{"@id":119},[58,124,125],1794704116943]