Radiophonic Cultures - Sonic environments and archives in hybrid media systems
Third-party funded project
Project title Radiophonic Cultures - Sonic environments and archives in hybrid media systems
Principal Investigator(s) Holl, Ute
Co-Investigator(s) Schmidt, Matthias
Oña, Erik
Siegert, Bernhard
Singer, Nathalie
Project Members Müller, Jan Philip
Tumat-Schnurr, Antje
Eichenberger, Tatiana
Conforti, Simone Fabio
Organisation / Research unit Departement Künste, Medien, Philosophie / Medienwissenschaft (Holl)
Project start 01.09.2015
Probable end 31.08.2018
Status Completed

The current reorganisation of the radio generates new forms of producing, composing, transmitting and perceiving sounds and music. At the same time, new aural spaces and cultures of listening are being established. To understand this media-generated change of acoustic environments and communication and to grasp the potentials of an emerging new radio, this research project examines the history of these phenomena in the larger context of radiophonics. Regarding the entire field of sounds insofar as they are linked to the genealogy and effects of radio technologies, radiophonics is here considered as a comprehensive cultural technique, i.e. operations which fundamentally change the matrix of communication and soundscapes. In a conglomeration of scientific knowledge, technical wit, media effects and musical affinities, radiophonics has reorganised the perception of an audible past, of sonic environments, and has shaped various historical concepts of sound. Music in the 20th century has extended its realm by integrating radio-affiliated techniques into composing, performance and listenership. In order to more closely define the notion of radiophonics and grasp the aesthetical and political potentials of its contemporary impact, the research group, consisting of media scholars, radio researchers and musicologists, will study mutual interdependencies between radio technologies, media aesthetics and musical cultures.

The project’s structure is organized along two axes: A historical perspective, examining relationships of experimental configurations and practices of radio studios on the one hand and techniques of composing on the other, at moments where they historically intersect. A second epistemological axis will study disturbances in concepts of acoustic cultures and environments in order to identify points of transition where the boundaries of noises and tones, sounds and music become permeable.

The four main projects will consider (A) an experimental aesthetics of acoustic perception; (B) a critical history of radiophonic composition; (C) an epistemology of disturbance in radiophonic environments; and (D) methods of sonic archiving. The subprojects (SP) will deal with historical turning points in composition and acoustic environments, according to corresponding phases in media technology. Caesuras are drawn along basic technological breaks: (1.) radio technology in early studios of live transmission, tubes, microphony and gramophony 1925–1945, (SP A2 Early Radiostudios; SP B2 Composing in the Weimar Republic); and (2.) radio technology according to transistors and tape devices after 1945 (SP A2 Broadcasting Laboratories after 1945, and SP B2 Radiospecific composing, tape, editing and montage; SP C2 Experimental Feedback in Radiophonics). These projects lay the foundation for discussing innovations through the digital processing of sounds as they transform contemporary sonic cultures.

The project is essentially framed by and grounded in critical studies of sonic archives. The Weimar Radio Project of Prof. Nathalie Singer contributes extensive international collections of sound and radio art, which are currently being digitized and will be accessible for all participants of the project. In this subproject, forms of describing and mapping acoustic sources will be developed (SP C4). The corresponding project of the University of Music Basel will develop algorithms for the retrieval of sounds in an acoustic archive (SP D2 Radiophonic Data Mining). While techniques of retrieval exist to identify melodic series, retrieving sound structures and acoustic colours remains a desideratum. The subprojects correspond in the hypothesis that future electroacoustic composing and broadcasting is based on new forms of accessing sonic archives.

Keywords radiophonics, history, radio, media, sound, music, musicology, composition, art, acoustic, auditory, aural, sonic, environment, electroacoustic, electronic, studio, culture, space, aesthetics, epistemology, analog, digital, cultural techniques
Financed by Swiss National Science Foundation (SNSF)

Published results ()

  ID Autor(en) Titel ISSN / ISBN Erschienen in Art der Publikation
3692804  Müller, Jan Philip  Radiophonics of the Vietnam War: A Collection  2159-9920    Publication: Discussion paper / Internet publication 
3692838  Eickmeyer, Jost; Tumat-Schnurr, Antje  „…, als habe dort niemals eine Insel gestanden.“ Wolfgang Hildesheimers und Hans Werner Henzes Das Ende einer Welt als Erzählung und Rundfunkoper  0343-1657  Literatur für Leser  Publication: JournalArticle (Originalarbeit in einer wissenschaftlichen Zeitschrift) 

Cooperations ()

  ID Kreditinhaber Kooperationspartner Institution Laufzeit - von Laufzeit - bis
3701170  Holl, Ute  Dr. De Benedictis, Angela Ida, Wissenschaftliches Team  Paul Sacher Stiftung  01.01.2016  31.08.2018 
3701171  Holl, Ute  Barandun, Anina, Hörspielleiterin  SRF 2  01.01.2016  31.08.2018 
3701173  Holl, Ute  Prof. Dr. Walter Leimgruber, Co-Applicant/Researcher  SNF Sinergia Project: "Broadcasting Swissness"  01.09.2015  31.08.2016 
3701174  Holl, Ute  Himmelsbach, Sabine, Director  Haus der elektronischen Künste Basel (HeK)  01.04.2016  31.08.2018 
3701179  Holl, Ute  Prof. Dr. Harenberg, Michael, Fachbereichsleitung Musik und Medienkunst  Hochschule der Künste Bern,   01.01.2016  31.08.2018 
3701181  Holl, Ute  Gammel, Marcus, Redaktion Klangkunst  Deutschlandradio Kultur  01.02.2016  31.08.2018 

MCSS v5.8 PRO. 0.344 sec, queries - 0.000 sec ©Universität Basel  |  Impressum   |