Wireless Imagination: Sound, Radio, and the Avant-Garde
Edited by Douglas Kahn and Gregory Whitehead
MIT Press

Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the “deaf century,” conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, André Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs.

From the late nineteenth century to the 1960s, the essays uncover the fantastic acoustic scenarios projected through the writings of Raymond Roussel; the aural objects of Marcel Duchamp; Dziga Vertov’s proposal for a phonographic “laboratory of hearing”; the ZAUM language and Radio Sorcery conjured by Velimir Khlebnikov; the iconoclastic castaways of F. T. Marinetti’s La Radia; the destroyed musics of the Surrealists; the noise bands of Russolo, Foregger, Varèse, and Cage; the contorted radio talk show delivered by Antonin Artaud; the labyrinthine inner journeys invoked by German Hörspiel; and the razor contamination and cut-up ventriloquism of William S. Burroughs.

Experimental Sound and Radio
Edited by Allen S. Weiss
MIT Press

Art making and criticism have focused mainly on the visual media. This book, which originally appeared as a special issue of TDR/The Drama Review, explores the myriad aesthetic, cultural, and  experimental possibilities of radiophony and sound art. Taking the approach that there is no single entity that constitutes “radio,” but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, political, popular cultural, archeological, semiotic, and feminist. Topics include the formal properties of radiophony, the disembodiment of the radiophonic voice, aesthetic implications of psychopathology, gender differences in broadcast musical voices and in narrative radio, erotic fantasy, and radio as an electronic memento mori.
John Corbett, Tony Dove, René Farabet, Richard Foreman, Rev. Dwight Frizzell, Mary Louise Hill, G. X. Jupitter-Larsen, Douglas Kahn, Terri Kapsalis, Alexandra L. M. Keller, Lou Mallozzi, Jay Mandeville, Christof Migone, Joe Milutis, Kaye Mortley, Mark S. Roberts, Susan Stone, Allen S. Weiss, Gregory Whitehead, David Williams, Ellen Zweig.

Phantasmic radio
Edited by Allen S. Weiss
Duke University Press, 1995

The alienation of the self, the annihilation of the body, the fracturing, dispersal, and reconstruction of the disembodied voice: the themes of modernism, even of modern consciousness, occur as a matter of course in the phantasmic realm of radio. In this original work of cultural criticism, Allen S. Weiss explores the meaning of radio to the modern imagination. Weaving together cultural and technological history, aesthetic analysis, and epistemological reflection, his investigation reveals how radiophony transforms expression and, in doing so, calls into question assumptions about language and being, body and voice.
Phantasmic Radio presents a new perspective on the avant-garde radio experiments of Antonin Artaud and John Cage, and brings to light fascinating, lesser-known work by, among others, Valère Novarina, Gregory Whitehead, and Christof Migone. Weiss shows how Artaud’s “body without organs” establishes the closure of the flesh after the death of God; how Cage’s “imaginary landscapes” proffer the indissociability of techne and psyche; how Novarina reinvents the body through the word in his “theater of the ears.” Going beyond the art historical context of these experiments, Weiss describes how, with their emphasis on montage and networks of transmission, they marked out the coordinates of modernism and prefigured what we now recognize as the postmodern.

Radio Rethink: Art, Sound and Transmission (W/CD)
Edited by Daina Augaitis and Dan Lander
Banff Centre Press, 1994

Until recently, radio has been a relatively unexplored aspect of artistic practices; this book asks why. From philosophical, historical and cultural analyses to poetic writings by artists, this unique reference explores radio culture and the unusual range of activity possible when contemporary artists use radio as their medium. Radio will never sound the same again.

Re-Inventing Radio: Aspects of Radio as Art
Edited by Heidi Grundmann, Elizabeth Zimmermann, Reinhard Braun, Dieter Daniels, Andreas Hirsh, Anne Thurmann-Jajes Frankfurt am Main, published by Verin werks in cooperation with the Ludwig Boltzmann Institute Media.Art.Research (Linz), MiDiHy Productions (Graz), and the Research Centre for Artists’ Publications at the Weserberg-Museum of Modern Art (Bremen) 541 pages
Revolver, 2008

Re-Inventing Radio is an important book, not only because it contributes to our rereading of the history of radio in contemporary art practices (and its various technological and conceptual extensions), but also because many artists, curators and theorists in the Canadian sound art network are re-contextualized here internationally. This book brings together texts written in 2007 as well as several reprinted essays, interviews, portraits, and descriptions of projects. In brief, and according to the editors of the publication, this is a mosaic that invites associative approaches. Inevitable inclusions are found here, such as Dieter Daniels from Ludwig Boltzmann Institute Media.Art.Research (Linz), but other artists and thinkers such as Tom Sherman, Anna Friz, Hank Bull, Lori Weidenhammer and Nina Czegledy appear as well.

Wireless Writing in the Age of Marconi
By Timothy C. Campbell

Correlates Italian and European modernism with early wireless technology.

Media Ecology Association’s Lewis Mumford Outstanding Scholarship in the Ecology of Technics Award winner

Wireless technology has become deeply embedded in everyday life, but its impact cannot be fully understood without probing the contributions of the Italian inventor Guglielmo Marconi (1874-1937), who ushered in the beginning of wireless communication. Marconi produced and detected sound waves over long distances, using the curvature of the earth for direction, and laid the foundations for what we know as radio—the original mobile, voice-activated, and electronic media community.

Timothy C. Campbell demonstrates that Marconi’s invention of the wireless telegraph was not simply a technological act but also had an impact on poetry and aesthetics and linked the written word to the rise of mass politics. Reading influential works such as F. T. Marinetti’s futurist manifestos, Rudolf Arnheim’s 1936 study Radio, writings by Gabriele D’Annunzio, and Ezra Pound’s Cantos, Campbell reveals how the newness of wireless technology was inscribed in the ways modernist authors engaged with typographical experimentation, apocalyptic tones, and newly minted models for registering voices. Wireless Writing in the Age of Marconi presents an alternative history of modernism that listens as well as looks and bears in mind the altered media environment brought about by the emergence of the wireless.


Kort historik över Framtidens musik
av Per Olov Broman
Gidlunds förlag
, 2007

Under 50- och 60-talet gjorde elektronmusiken entré. Det var en musik som skapades direkt på band och spelades upp via högtalare. Det var en musik som inte behövde några musiker, som fick förespråkarna att sia om aldrig tidigare skådade möjligheter och motståndarna att frukta musikens slutliga avhumanisering. Som en musik direkt anpassad efter högtalaren och de elektroniska massmedierna skulle den bli den musik, som hörde den teknologiserade framtiden till.

Else Marie Pade og Symphonie Magnétophonique.
Biografi, Interviews, lyttepartitur, partitur, cd
af Inge Bruland
Museum Tusculanums Forlag, 2006

På sporet af Else Marie Pades konkrete musik -En analyse af den æstetiske forbindelse mellem Else Marie Pades Symphonie magnétophonique og Pierre Schaeffers musique concrete.

Else Marie Pade (f. 1924) er dansk elektronisk musiks ‘grand old lady’. Allerede i 1954 begyndte hun som en af de første i verden at arbejde med lydmaskiner, båndmusik og sampling. Med inspiration fra ‘konkret musik’ og udenlandske kolleger i Tyskland og Frankrig komponerede hun elektronisk, og i august 1955 blev hendes TV-collage En dag på Dyrehavsbakken sendt i Danmarks Radios fjernsyn til stor undren for den danske offentlighed.

Hun vandt stor anerkendelse i udlandet, men herhjemme blev hun glemt, indtil hun for få år siden blev genopdaget af den unge generation af musikere og dj’s, som i dag hylder hende som kultfigur og inspirator.

Hendes Symphonie magnétophonique fra 1958 er et musikalsk øjebliksbillede af livet i København. Det forunderlige partitur hertil udgives nu i faksimileudgave sammen med bl.a. en kort biografi om Else Marie Pade og tre interviewsamtaler med komponisten. Bogen indledes med et forord af Peter Bastian.

Inge Bruland (f. 1936), cand.mag. i musik og fransk, er fhv. lektor på Musikvidenskabeligt Institut ved Københavns Universitet. Har siden 1980 beskæftiget sig med kvinders rolle i musiklivet, i fortid og nutid, og har skrevet en række artikler om emnet.


• Forord ved Peter Bastian
• Inge Bruland: Indledning med biografi
• Tre interviews med Else Marie Pade
v/ Emil Boserup, Jon Bruland og Jakob Goetz
• Symphonie magnétophonique i faksimile og introduktion til partituret ved Inge Bruland
• Lyttepartitur med introduktion ved Lisbeth Damgaard
• Den tidlige danske elektronmusik 1955-70
• Bent Lorentzen i samtale med Inge Bruland


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