Project

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Radiophonic Cultures - Sonic environments and archives in hybrid media systems

English title Radiophonic Cultures - Sonic environments and archives in hybrid media systems
Applicant Holl Ute
Number 154456
Funding scheme Sinergia
Research institution Institut für Medienwissenschaften der Universität Basel
Institution of higher education University of Basel - BS
Main discipline Communication sciences
Start/End 01.09.2015 - 31.08.2019
Approved amount 1'551'936.00
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Keywords (18)

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

Lay Summary (German)

Lead
Ausgehend vom Konzept der Radiophonie als Kulturtechnik untersucht das Projekt klangliche Phänomene und Hörkulturen, die - weit über das Radio als Institution hinaus - aus hybriden medialen Anordnungen entstehen. An der Schnittstelle von Musik- und Medienwissenschaft werden gegenseitige Bedingtheiten zwischen Studiotechniken, musikalischen Kompositionsverfahren, Archivpraktiken und Rezeptionsformen von der Frühzeit des Radios bis in die Gegenwart seiner digitalen Reorganisation erforscht.
Lay summary

Inhalt und Ziel des Forschungsprojekts

Drei Achsen verbinden die Einzelprojekte: Auf einer historischen Achse wird untersucht, welche Bedeutung der Radiophonie bei der Strukturierung von Klangwelten und akustischer Kommunikation zukommt. Eine zweite, epistemologische Achse betrifft die Ästhetik der Störung in Radio- und Klangkunst als Verfahren der Selbstreflexion auditiver Medien. Die dritte Achse stellt die Frage nach dem Archiv, das aller Radiopraxis zugrunde liegt. Das Problem des Klangarchivs wird sowohl theoretisch gefasst als auch praktisch erforscht. Dabei werden Algorithmen entwickelt, die das Archiv nicht nur nach Melodien oder semantischen Beschreibungen durchsuchen und ordnen, sondern nach Parametern, die sich aus gespeicherten Klangformen selbst ergeben. So liefert das Projekt aus der Geschichte klanglich und musikalisch konzipierter Formen Entwürfe für ein kommendes und auf digitaler Datenverarbeitung basierendes Radio.

Wissenschaftlicher und gesellschaftlicher Kontext

Die Entwicklung radiophoner Hörkulturen unter Bedingungen des Internets ist die entscheidende Herausforderung für eine künftige Organisation institutioneller Radios, insbesondere in der multilingualen Schweiz. Aus der Untersuchung avancierter Formen der Radiopraxis liefert das Projekt Konzepte der Emergenz neuer Hörkulturen. In der Kooperation von Medien- und Musikwissenschaft werden damit die Grundlagen für historisch und epistemologisch fundierte Interventionen in gegenwärtig virulente gesellschaftliche Prozesse gelegt.

 

Direct link to Lay Summary Last update: 27.07.2015

Responsible applicant and co-applicants

Employees

Publications

Publication
„…, als habe dort niemals eine Insel gestanden.“ Wolfgang Hildesheimers und Hans Werner Henzes Das Ende einer Welt als Erzählung und Rundfunkoper
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.
Radiophonics of the Vietnam War: A Collection
Müller Jan Philip (2016), Radiophonics of the Vietnam War: A Collection, in continent, 5(3), 7.
Baukasten einer Mediengeschichte des Tonstudios
Holl Ute, Baukasten einer Mediengeschichte des Tonstudios, in Busch Kathrin, Dörfling Christina, Peters Kathrin (ed.).
Between Music and Noise: The discussion of portamento and its socio-aesthetic implications in the long 19th century
Bork Camilla, Between Music and Noise: The discussion of portamento and its socio-aesthetic implications in the long 19th century, in Borio Gianmario (ed.).
Das Experiment am Experimentellen Radio – Versuch einer Eigendefinition
Singer Nathalie, Das Experiment am Experimentellen Radio – Versuch einer Eigendefinition, in Eckardt Anke (ed.).
Kittler on Music
Holl Ute, Kittler on Music, in Champlin Jeffrey (ed.).
The Track of the Fly. On Hearing and Animality in the Age of Technical Media (with an Archaeology of Stereophonic Film Sound)
Siegert Bernhard, The Track of the Fly. On Hearing and Animality in the Age of Technical Media (with an Archaeology of Stereophonic Film Sound), in Champlin Jeffrey (ed.).

Collaboration

Group / person Country
Types of collaboration
International Research Network "Auditory Knowledge in Transition" (DFG, German Research Foundation) Germany (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Sound Studio/Music and Media Arts, Bern University of Arts (Prof. Dr. Michael Harenberg) Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Sinergia-Project "Broadcasting Swissness" (Contact: Prof. Dr. Walter Leimgruber) Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Paul Sacher Foundation, Basel (Contact: Dr. Angela Ida De Benedictis) Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
- Research Infrastructure
House of Electronic Arts, Basel (Head: Sabine Himmelsbach) Switzerland (Europe)
- Industry/business/other use-inspired collaboration
Kunstradio-Radiokunst, Österreichischer Rundfunk (Elisabeth Zimmermann) Austria (Europe)
- in-depth/constructive exchanges on approaches, methods or results
Schweizer Radio und Fernsehen, SRF2 Kultur (Contact: Anina Barandun) Switzerland (Europe)
- in-depth/constructive exchanges on approaches, methods or results
- Publication
- Research Infrastructure
- Industry/business/other use-inspired collaboration
Deutschlandradio Kultur, Redaktion Klangkunst (Marcus Gammel) Germany (Europe)
- in-depth/constructive exchanges on approaches, methods or results

Scientific events

Active participation

Title Type of contribution Title of article or contribution Date Place Persons involved
Sonic Saturday Symposium: Different Places. From Broadcasting to Transmitting to Processing Talk given at a conference The History of Tomorrow – Radio Art between Big Data and FM- Revival 09.09.2017 Linz, Austria Singer Nathalie;
Musik im Science-Fiction-Film – XII. Symposium zur Filmmusikforschung Talk given at a conference Wie klingt die Zukunft? Forbidden Planet (1956) und die Ästhetik der elektronischen Klänge im Science Fiction Film der 1950er Jahre 22.07.2017 Hochschule für Musik und Theater (HfMT), Hamburg, Germany Durisova Eichenberger Tatiana;
Sound des Papiers Talk given at a conference Papier, Notenschrift und Stromkreise 21.07.2017 Deutsche Nationalbibliothek, Leipzig, Germany Müller Jan Philip;
Literature Technology Media, visiting professor Individual talk Epistemology of Disruption. Catastrophic Feedback Loops in German Radio History (1914 – 1932) 29.06.2017 Cambridge, Great Britain and Northern Ireland Siegert Bernhard;
Guest lecture Individual talk Tradition and technology in postwar radio opera 28.03.2017 Katholieke Universiteit Leuven, Belgium Tumat-Schnurr Antje;
MWS Vortrag Individual talk Die Funkoper der Nachkriegszeit 22.03.2017 Musikwissenschaftliches Seminar, Universität Basel, Switzerland Tumat-Schnurr Antje;
Lecture and Colloquium Individual talk “Oper auf der Couch”: Die Funkoper der Nachkriegszeit zwischen Technik und Tradition (Habilitationsvortrag) 16.11.2016 Hochschule für Musik, Theater und Medien Hannover (HMTMH), Germany Tumat-Schnurr Antje;
Radio Space is the Place Talk given at a conference Round-Table 5: Radio Art Archives and Artistic Archive Practice 27.10.2016 Halle, Germany Singer Nathalie; Conforti Simone;
Radio Space is the Place Talk given at a conference Round-Table 4: Radio as Experimental Laboratory 27.10.2016 Halle, Germany Holl Ute;
Radio Space is the Place Talk given at a conference Round-Table 3: Turn On, Stay Detuned: The Politics and Poetics of Wireless Space 27.10.2016 Halle, Germany Siegert Bernhard;
Wessen Wissen? Künste. Situiertheit. Materialität. Jahrestagung des Graduiertenkollegs „Das Wissen der Künste“, Universität der Künste Talk given at a conference Hybride Körper: das Tonstudio als Laboratorium 21.07.2016 Berlin, Germany Holl Ute;
Sounding Out the Anthropocene. International Exploratory Workshop of IXDM and the GfM-AG Auditive Kultur und Sound Studies Talk given at a conference The Electronic Battlefield, the Acoubuoy and The Ears of the Jungle. The Becoming-ecological of Radiophonics in the Vietnam War, ca. 1966-1974 10.03.2016 Basel, Switzerland Müller Jan Philip;


Self-organised

Title Date Place
Radio Space is the Place 27.10.2016 Halle, Germany
Hochschulseminar und Workshop (Prof. Nathalie Singer and Andreas Feddersen), Summer Term 2016: ""Expedition Big Data im Archiv" 13.04.2016 Bauhaus-Universität, Weimar, Germany
Radiophonic Cultures Workshop 03: Music and Noise in Radio 08.04.2016 Basel, Switzerland
Hochschulseminar (Dr. Antje Tumat), Summer Term 2016: "Musik in Funk und Film nach 1945" 01.04.2016 Hochschule für Musik, Theater und Medien, Hannover, Germany
Radiophonic Cultures Workshop 02: Radiophonic Archives 26.01.2016 Weimar, Germany
Hochschulseminar (Dr. Antje Tumat), Winter Term 2015/16: "Deutschsprachige Radiokunst: Funkoper und Hörspiel" 01.10.2015 Hochschule für Musik, Theater und Medien, Hannover, Germany
Radiophonic Cultures Workshop 01: Radiophonics 14.09.2015 Basel, Switzerland

Communication with the public

Communication Title Media Place Year
New media (web, blogs, podcasts, news feeds etc.) Ute Holl: Das Radio des Dissenses dokublog International 2017
Print (books, brochures, leaflets) From Casting to Translocal. Email Interview with Tetsuo Kogawa by Jan Philip Müller International 2016
Media relations: radio, television Von den alten und neuen Meistern der Radiokunst (Nathalie Singer) Deutschlandfunk International 2016

Abstract

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.
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