Sonic Archives; Media Aesthetics; Music/Musicology; Experimental Cultures; Auditory Cultures; Sonic Signal Processing; Electronic Art; Ecology/Environment; Archival Studies; Cultural Techniques; Sonic Data-Mining; Radio Research; Laboratory Cultures; Soundscapes; Electroacoustic Composing; Digital cultures; Sound Studies; Epistemology of Noise
Singer Nathalie (2019), Radio Art as a Field of Study: The Experimentelles Radio Professorship at the Bauhaus- Universität Weimar, in Frohne Ursula, Rauh Franziska, Thurmann-Jajes Anne, Rothe Sarah, Peters Maria, Schönewald Sarah, Kim Jee-Hae (ed.), transcript Verlag, Bielefeld, 178-181.
EichenbergerTatiana (2019), Experimentelle Klanglabore des Rundfunks, in
Rundfunk und Geschichte, (1-2), 82-83.
EichenbergerTatiana (2019), Wie klang die Zukunft? Forbidden Planet und der Einzug elektroakustischer Klänge in den Science-Fiction-Film der 1950er-Jahre, in Krohn Tarek , Holtsträter Knut (ed.), Waxmann, Münster, 31-48.
TumatAntje (2018), "Oper auf der Couch" - die Funkoper der Nachkriegzeit zwischen Technik und Tradition, in Holl Ute (ed.), Kehrer, Heidelberg, 53-72.
ConfortiSimone (2018), Automatische Klangabfrage auf Grundlage des menschlichen Hörens, in Holl Ute (ed.), Kehrer, Heidelberg, 121-131.
BorkCamilla (2018), Die Angst vor dem Geräusch - zum Verhältnis von Musik und Geräusch im radiophonen Komponieren der Weimarer Republik, in Holl Ute (ed.), Kehrer, Heidelberg, 39-50.
SchmidtMatthias (2018), Flaschenpost fürs Radio - Hanns Eisler und Bertold Brecht im Mai 1942, in Holl Ute (ed.), Kehrer, Heidelberg, 75-85.
MüllerJan Philip, KogawaTetsuo (2018), From casting to translocal - ein Dialog, in Holl Ute (ed.), Kehrer, Heidelberg, 249-263.
SiegertBernhard (2018), Oszillationen zwischen Störung und Entstörung - zur Kulturtechnik des radiophonischen Hörens, in Holl Ute (ed.), Kehrer, Heidelberg, 233-247.
Holl Ute (ed.) (2018),
Radiophonic Cultures, Kehrer, Heidelberg.
GerberTobias (2018), The listener must really and truly listen" - Hören als radiophone Technik, in Holl Ute (ed.), Kehrer, Heidelberg, 187-196.
HollUte (2018), Zukünfte des Radios - Einleitung, in Holl Ute (ed.), Kehrer, Heidelberg, 7-17.
Holl Ute (2018), Baukasten einer Mediengeschichte des Tonstudios, in Busch Kathrin, Dörfling Christina, Peters Kathrin (ed.), Fink Verlag, Paderborn, M133-M149.
Holl Ute (2018), Kittler on Music, in Champlin Jeffrey, Pfannkuchen Antje (ed.), Fordham University Press, New York, 209-230.
Siegert Bernhard (2018), The Track of the Fly. On Hearing and Animality in the Age of Technical Media (with an Archaeology of Stereophonic Film Sound), in Pfannkuchen Antje , Champlin Jeffrey (ed.), Fordham University Press, New York, 231-246.
Tumat Antje, Eickmeyer Jost (2016), „…, als habe dort niemals eine Insel gestanden.“ Wolfgang Hildesheimers und Hans Werner Henzes Das Ende einer Welt als Erzählung und Rundfunkoper, in
literatur für leser, 38 (2016)(15/3), 169-186.
Müller Jan Philip (2016), Radiophonics of the Vietnam War: A Collection, in
continent, 5(3), 7.
Bork Camilla, Between Music and Noise: The discussion of portamento and its socio-aesthetic implications in the long 19th century, in Borio Gianmario (ed.), Routledge, London, New York.
Singer Nathalie, Das Experiment am Experimentellen Radio – Versuch einer Eigendefinition, in Eckardt Anke (ed.), universi, Siegen.
EichenbergerTatiana, Electroacoustic music or radiophonic art? An aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares, Manchester University Press, Manchester.
Tumat Antje, Bork Camilla (ed.),
Komponieren für Radio: Akteure, Diskurse, Netzwerke, Laaber, Lilienthal.
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 will examine 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 practises 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 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.