Hostname: page-component-cb9f654ff-c75p9 Total loading time: 0 Render date: 2025-08-20T09:13:05.121Z Has data issue: false hasContentIssue false
  • English
  • Français

An Overview of Spatialised Broadcasting Experiments with a Focus on Radio Art Practices

Published online by Cambridge University Press:  25 October 2010

Colin Black
Colin Black*
Affiliation:
Composition and Music Technology Unit, Sydney Conservatorium of Music, The University of Sydney, Sydney NSW, 2000, Australia
*
E-mail: artist@colinblack.com.au
Get access Rights & Permissions [Opens in a new window]

Abstract

This article is an introduction to the specialised area of spatialised broadcasting experiments associated with radio art practices. This subject is investigated primarily from two perspectives: artistic works that explore the dissemination of radio waves (the ‘spectrumscape’) and the multichannel broadcasting/listening experience. It also discusses some of the history and ideas that form the undercurrents for radio art practice and explores radio art’s uses and concepts of spatiality.

Information

Type
Articles
Information
Organised Sound , Volume 15 , Issue 3: Sound ↔ Space: New approaches to multichannel music and audio , December 2010 , pp. 198 - 208
Copyright
Copyright © Cambridge University Press 2010

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

AdrianX, Robert X, Robert. 1989. Im Netz der Systeme. Kunstforum International 103 (September–October): 142–147.Google Scholar
Anderson, Gordon A. et al. 2001. Paris. In L. Macy (ed.) New Grove Dictionary of Music and Musicians. www.oxfordmusiconline.com/subscriber/article/grove/music/40089pg7 (accessed 26 December 2009).Google Scholar
Arnheim, Rudolf. 1936. Radio. London: Faber and Faber.Google Scholar
Australian Broadcasting Corporation. n.d. The Listening Room Archives. www.abc.net.au/classic/lroom/stories/s532645.htm (accessed 21 July 2008).Google Scholar
Bitstream, 2008. ‘Bitstream’ blog, Sound & Vision Magazine, http://bitstream.soundandvisionmag.com/blog/2008/10/lexicon-debuts-its-first-oem-car-audio-system.html (accessed 14 May 2009).Google Scholar
Black, Colin. 2005. Radio Art: The Age of the ‘Bunker’ Artist, Digging in Deeper, Spreading Thinner …, Vital Signs Conference, Melbourne.Google Scholar
Black, Colin. 2009. Radio Art: Broadcast or Outcast. Music Forum. Journal of the Music Council of Australia 15(2): 20–21.Google Scholar
Blamey, Peter. 2009. Naturally Electromagnetic. RealTime 94 (December–January): 44.Google Scholar
Bosma, Josephine. 1997. Interview with Heidi Grundmann. Heise Zeitschriften Verlag, www.heise.de/tp/r4/artikel/6/6178/2.html (accessed 29 December 2009).Google Scholar
Breitsameter, Sabine. 1999. Hörspiel Birthday. The New Soundscape Newsletter 10 (November 1999), http://interact.uoregon.edu/medialit/wfae/library/new_newsletter/NSNL10.html (accessed 20 December 2009).Google Scholar
Cage, John. 1966. John Cage and Morton Feldman In Conversation, Radio Happening I of V recorded at WBAI, New York City, www.archive.org/details/CageFeldmanConversation1 (accessed 12 May 2009).Google Scholar
Concannon, Kevin. 1990. Cut and Pastes: Collage and the Art of Sound. In Dan Lander and Micah Lexier (eds), Sound by Artists. Toronto and Banff: Art Metropole and Walter Phillips Gallery.Google Scholar
CoryMark, E Mark, E. 1992. Soundplay. In Douglas Kahn and Gregory Whitehead (eds), Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: The MIT Press.Google Scholar
DeutschlandRadio, n.d. Klangkunst website, www.dradio.de/dkultur/sendungen/klangkunst/952231 (accessed 22 May 2009).Google Scholar
Doyle, Peter. 2005. Echo and Reverb: Fabricating Space in Popular Music Recording, 1900-1960. Middletown, CT: Wesleyan University Press.Google Scholar
Dunne, Anthony. 1999. Hertzian Tales: Electronic Products, Aesthetic Experience an Critical Design. London: RCA CRD Research Publication.Google Scholar
Fisk, Ernst. 1930a. Radio Era: Next Step – Phone N. Zealand. Fisk Tells, Evening News, 1 May.Google Scholar
Fisk, Ernst. 1930b. Ring up London, Evening News, 1 May.Google Scholar
Fisk, Ernst. 1930c. Talking to Dead by Radio: Mr Fisk’s Prediction, Herald (Melbourne), 26 May.Google Scholar
free103point9. n.d., free103point9 website, www.free103point9.org/events/326 (accessed 13 May 2009).Google Scholar
Freire, Sergio. 2003. Early Musical Impressions from Both Sides of the Loudspeaker. Leonardo Music Journal 13: 37–71.CrossRefGoogle Scholar
Friz, Anna. 2008. Becoming Radio. In Re-Inventing Radio: Aspects of Radio As Art. Frankfurt am Main: Revolver.Google Scholar
Friz, Anna. 2009. Radio As Instrument. WI: JOURNAL OF MOBILE MEDIA (Spring), http://wi.hexagram.ca/?p=39 (accessed 13 May 2009).Google Scholar
Gilfilian, Daniel. 2008. Networked Radio Space and Broadcast Simultaneity. In Elisabeth Zimmermann, Heidi Grundmann, Reinhard Braun, Dieter Daniels, Andreas Hirsch and Anne Thurmann-Jajes (eds), Re-Inventing Radio: Aspects of Radio as Art. Frankfurt/Main: Revolver.Google Scholar
Grundmann, Heidi. 1994. The Geometry of Silence. In Daina Augaitis and Dan Lander (eds), Radio Rethink. Banff: The Banff Centre for the Arts.Google Scholar
Grundmann, Heidi. 2007. Beyond Broadcasting: The WIENCOUVER Series. In Erik Granly Jensen and Brandon LaBelle (eds), Radio Territories. Los Angeles and Copenhagen: Errant Bodies Press.Google Scholar
Grundmann, Heidi. n.d. Re-Play. Kunstradio, www.kunstradio.at/REPLAY/cat-text-eng.html (accessed 2 August 2008).Google Scholar
Hagelüken, Andreas. 2006. Acoustic (Media) Art: Ars Acustica and the Idea of a Unique Art Form for Radio – an Examination of the Historical Conditions in Germany. World New Music Magazine 16 (July): 90.Google Scholar
Hesse, Hermann. 1963. Steppenwolf, trans. Basil Creighton, rev. Walter Sorell. New York: Modern Library.Google Scholar
Institute of Broadcast Sound. 2007. 5.1 Radio in Europe. LINE UP 111 (June–July): 20–22.Google Scholar
Joyce, Zita. 2007. Spectrumscape: The Space of Wirelessness. Media International Australia (MIA) 125 (November): 83–93.CrossRefGoogle Scholar
Kahn, Douglas. 1992. Introduction: Histories of Sound Once Removed. In Douglas Kahn and Gregory Whitehead (eds), Wireless Imagination: Sound, Radio, and the Avant-Garde. Cambridge, MA: The MIT Press.Google Scholar
Kahn, Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
Kennedy, Michael (ed.). n.d. Schaeffer, Pierre. In The Oxford Dictionary of Music, 2nd ed., www.oxfordmusiconline.com/subscriber/article/opr/t237/e9022 (accessed 12 May 2009).Google Scholar
Kubisch, Christina. 2007. Invisible/Inaudible, Five Electrical Walks. Important Records, http://importantrecords.com/kubisch (accessed 29 December 2009).Google Scholar
Kunstradio. 2004a. Radio als Ort, Kontext und Gegenstand von Kunst. Teil 1 – Das Drama der Distanzen, www.kunstradio.at/2004B/05_09_04.html (accessed 20 December 2009).Google Scholar
Kunstradio 2004b. RE-INVENTING RADIO, Documentation: Long Night of Radio Art website, (Kunstradio Österreich 1, Vienna) www.kunstradio.at/PROJECTS/REINVENTING/index.php?c=5 (accessed 14 May 2009).Google Scholar
Kunstradio 2004c. RE-INVENTING RADIO II,/Historical Series website, www.kunstradio.at/2004B/05_09_04.htmlen (accessed 14 May 2009).Google Scholar
Kunstradio. n.d. Manifesto: Toward a Definition of Radio Art, www.kunstradio.at/TEXTS/manifesto.html (accessed 7 June 2008).Google Scholar
Lander, Dan. 1994. Radiocasting: Musings on Radio and Art. In Daina Augaitis and Dan Lander (eds), Radio Rethink: Art, Sound and Transmission. Banff: Walter Phillips Gallery.Google Scholar
Landy, Leigh. 2007. Understanding the Art of Sound Organisation. Cambridge, MA: The MIT Press, 2007, www.ears.dmu.ac.uk/spip.php?rubrique148 (accessed 21 July 2008).CrossRefGoogle Scholar
Leonardson, Eric. 1995. Painting With Waves: An Interview with Sabine Breitsameter on Sound and Radio Art. Chicago SoundWeb, www.ericleonardson.org/articles/sabine.html (accessed 10 May 2009).Google Scholar
McLennan, Andrew. 1994. A Brief Topography of Australian Sound Art and Experimental Broadcasting. Continuum: The Australian Journal of Media & Culture 8(1): 302–317.CrossRefGoogle Scholar
Media Art Net n.d. Media Art Net website, www.medienkunstnetz.de/werke/weekend (accessed 20 December 2009).Google Scholar
Petermichl, Karl 2004. RE-INVENTING RADIO II, Technical Explanation about 5.1 website, www.kunstradio.at/PROJECTS/REINVENTING/index.php?c=20 (accessed 14 May 2009).Google Scholar
RCA (Royal College of Art), n.d. DESIGN INTERACTIONS website, www.interaction.rca.ac.uk/people/staff/anthony-dunne/projects/project1.html (accessed 13 May 2009).Google Scholar
Richter, Hans. 1949. Experiments with Celluloid. Penguin Film Review 9.Google Scholar
Rumsey, Francis. 2001. Spatial Audio. Oxford and Boston, MA: Focal Press.Google Scholar
Schafer, R. Murray. 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.Google Scholar
Schafer, R. Murray. 2004. The Music of the Environment in Christoph Cox and Daniel Warner (eds), Audio Culture. New York: Continuum.Google Scholar
Sterne, Jonathan. 2003. The Audible Past: Cultural Orgins of Sound Reduction. Durham, NC: Duke University Press.Google Scholar
Stockhausen, Karlheinz. 1974. YLEM, CD Booklet notes, CD21.Google Scholar
Truax, Barry. 2001. Acoustic Communication. Westport, CT: Ablex.Google Scholar
Weill, Kurt. 1984. Radio and the Restructuring of Music Life (1926). In Jost Hermand and James Steakley (eds), Writings of German Composers. New York: Continuum.Google Scholar
WeissAllen, S Allen, S. 1995. Phantasmic Radio. Durham, NC: Duke University Press.Google Scholar