Scotland has a long history of collecting material from its oral tradition, including Gaelic tales, lullabies, work songs, testimonials, languages and accents. Much of this oral tradition has survived to this day largely thanks to twentieth-century ethnomusicologists, folklorists and anthologists such as Lucy Broadwood, Marjory Kennedy-Fraser and John Lorne Campbell. We have come a long way since cylinder recordings and phonophotography. With the advent of the internet, the rapid spread of new communication technologies and the generalised use of portable devices, there has been an explosion in sound and video recordings of poetic works in Scotland, whether in the form of authorial readings, audio-texts or film-poems. Most of them are made available to the public thanks to flexible interfaces that present and translate data between visual, textual and aural modes. As a consequence, it has never been easier to access Scottish audio-poems and download them from the Scottish Poetry Library's online anthology, the BBC radio archive or official websites of contemporary poets and spoken word artists. However dynamic the publishing industry may be in Scotland, poets and artists are also often compelled to put their shoulder to the wheel and take an active role in the distribution and marketing of their works outside the existing, although rapidly changing, mechanisms of the conventional commercial nexus, with the internet generating a nexus of its own kind. This has led to the proliferation of digital archives and communicational, often crossmedia apparatuses – such as book trailers – designed to encourage distribution, advertise the publications and establish spaces of discussion both on the local and global scales. By taking advantage of the phenomenon of online social networking, many Scottish poets now keep an online journal or website, are active on Facebook, Twitter and Tumblr, or share videos of public readings, interviews, performances and the like on online platforms such as YouTube, Dailymotion or Vimeo. Just as they greatly contribute to the dissemination of poetic works in Scotland and beyond, the internet and digital technologies thus provide ever-new ways of making, storing and sharing artworks whose intrinsic hybrid nature is closely tied to the issues that are raised by the interference of the mechanical and the technological in the relationship between reader (or, rather, reader-viewer-listener) and meaning.