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Covering over 80 years of history, Daniel Gilfillan argues for the importance of avant-garde theory and practice as an alternative to mainstream, broadcast-industry definitions of radio. Gilfillan offers us an important resource for thinking about the intersecting histories of radio and sound art, and an opportunity to reflect upon their possible futures. Since the rise of film and television, radio has continued to evolve, with satellite radio and podcasts as its latest incarnations.

Any understanding of the development of radio, like its visual counterparts, depends on closely examining the artistic ventures that preceded commercial acceptance. In Pieces of Sound , Daniel Gilfillan offers a cultural history that explores these major aspects of the medium by focusing on German radio broadcasting, providing a context that sees beyond programming to consider regulations, cultural politics, and social standardization. He traces how German radio broadcasters experimented with networked media not only to expand the artistic and communicative possibilities of radio, but also to inform perceptions about the advantages and direction of newer telecommunications media like Internet broadcasting and pirate radio, which artists are using today to engage with a medium that is increasingly under corporate control.

Gilfillan astutely observes how claims made for the Internet today echo those made for radio in its infancy and puts forth a broad and incisive historical analysis of German cultural broadcasting. Daniel Gilfillan is associate professor of German studies and information literacy at Arizona State University.

Gilfillan presents a strong case for the importance of alternative and artistic radio, as well as the importance of paying attention to alternative radio practices that might be considered peripheral.

The International Radio Art (and Creative Audio for Trans-media) Research Group - IRARG

This is important not only in order to find new models for a constantly developing and changing medium, but also, as Gilfillan himself explains in his concluding remarks, in order to understand the historical development of mainstream radio. Pieces of Sound is an important step in recuperating and preserving the history of alternative media practices, and a significant resource for the study of the variegated landscape of the radio avant-garde.

Pieces of Sound: German Experimental Radio constitutes an admirable contribution to the development of our critical vocabulary by advancing a convincing argument about what constitutes experimental art. This text challenges our perceptions of radio as a medium in decline.

Pieces of Sound: German Experimental Radio

Pieces of Sound is an exciting read for scholars of German history and media theory alike. University of Minnesota Press Coming soon. Radio Nouspace was selected for providing a fluid museum of sound through its online, on demand, programming, and for providing a virtual listening space that links sound and listening to curation, inquiry, and making.


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Barber, John. Grigar, Dene and John Barber. Hyperrhiz: New Media Cultures , 17, July.

Reprinted in French translation, Appareil Scholarly and Research Communication. My archival website. Digital Humanities Quarterly , vol. Preserving the Permeability of the Post Screen. Barber, John and Alcina Cortez. The British Library, London, England.

German Experimental Radio

LEARN more. Dubber, Andrew. Radio in The Digital Age: A book and some associated observations.

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Amy C. Throughout the Odyssey, Odysseus' "winged words," called in ancient Greek epea pteroenta , sustain him in his journey, and gain him great gifts from gods and men alike. While this epic has come to represent what is left of an ancient, lost culture, the notion of well-crafted or passionate words, spoken aloud and intended to be heard by a listening audience, still remains. One iteration of winged words made possible by broadband networks is Internet radio.

This essay describes a project, called the Nouspace Internet Radio, that entails using of Internet radio for teaching undergraduate and graduate level rhetoric. Radio Nouspace is guided by these research questions. How do we make sense of sound as the central component of narrative? With sound s as raw material, what kinds of engaging, immersive listening experiences can we create and share with many listeners to recenter sound as the primary component of narrative, storytelling, and drama?

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What about sound-based narratives based on interactivity, collaboration, and social networking among the listeners and between the participants nee listeners and the narratives themselves? What stories might be told? By whom? Would they be global in scope, or local?