Marinetti & Pino Masnata 1933).Īlready at the beginning of public radio we can identify how differently traditional acoustic content had to be approached when being picked up by microphones inside the radio studio (Kurt Weill 1975). Listeners are part of a democratic 'listening space for all' (Klaus Schöning 1997), while any distant spaces become part of the new radio space (F. New technologies and instruments have emerged from inside radio studios in order to reveal completely new timbral and spatial experiences of the work of composers, poets, theatre and film makers, as well as visual artists.

Along with the history of radio we have been witnessing the rise of new studio technologies and distribution strategies, which have not only influenced radical change regarding the listening experience, but have also directly influenced the way artists make the art of sound (let's call it music). The internet has been questioning the position of radio again, yet it is still radio as sound medium that provokes sonic imagination from surprising creative angles, which do not only emerge from within public service environments.Īcross the history of the radio medium we not only approach fascination with bi-directional communication, but also an unprecedented subversive emphasis on aural approaches despite the continuously increasing visuality of the past century. Despite the fact that it was expected to be overshadowed by the rise of television, it has continued to challenge norms within a wide variety of creativity across art disciplines. Since the beginning of the 20th century radio as a medium has built all kinds of synapses in societies, cultural practices and art discourses. Issue co-ordinator : Michal Rataj ( for submission Call for Submissions - Volume 29, Number 1

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