The article contributes to the field of cultural studies and radio history by focusing on soccer (or fútbol), arguably the most significant mass spectacle in twentieth-century Latin America. By exploring the trajectories, iconic voices and styles of sportscasters, the article reconstructs the masculine soundscape of soccer in Argentina and Chile between the 1920s and 1960s. Play-by-play announcers, who ranged from second-rate actors and singers to professional journalists, crafted their own versions of masculinity and nationalism that were central to representing sports culture in an increasingly transnational context. The article pays special attention to the sporting press, audio records and sports films, since many commentators borrowed heavily from other forms of mass culture. Their oral representations of the game, loaded with moral evaluations and political statements, can be seen as cultural texts because they enabled new ways of imagining sports for much larger audiences than those sitting in the stadium.
{"title":"Transnational sports soundscapes: Soccer announcers and radio in Argentina and Chile, 1920s‐60s","authors":"P. Acuña","doi":"10.1386/rjao_00035_1","DOIUrl":"https://doi.org/10.1386/rjao_00035_1","url":null,"abstract":"The article contributes to the field of cultural studies and radio history by focusing on soccer (or fútbol), arguably the most significant mass spectacle in twentieth-century Latin America. By exploring the trajectories, iconic voices and styles of sportscasters, the\u0000 article reconstructs the masculine soundscape of soccer in Argentina and Chile between the 1920s and 1960s. Play-by-play announcers, who ranged from second-rate actors and singers to professional journalists, crafted their own versions of masculinity and nationalism that were central to representing\u0000 sports culture in an increasingly transnational context. The article pays special attention to the sporting press, audio records and sports films, since many commentators borrowed heavily from other forms of mass culture. Their oral representations of the game, loaded with moral evaluations\u0000 and political statements, can be seen as cultural texts because they enabled new ways of imagining sports for much larger audiences than those sitting in the stadium.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"22 1","pages":"79-99"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82145102","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Narrative voice is a frequent site of experimentation in narrative journalism, and in podcasting this voice tends to be more prominent as the listener hears the narrator’s embodied voice. It can build a strong bond with the listener, which is important for independent producers as trust is not automatically afforded to them by association with a trusted media organization. This is particularly true for emerging producers, who also lack a professional reputation. This study examines the techniques used in five Australian independent podcasts to understand how they experiment with narrative voice as a podcast technique to build trust with the listener. It finds trust is built through narrative voice in four specific ways (1) first-person narration, (2) authenticity, (3) empathy and (4) emotional truth. This may allow for a greater variety of voices to be not only heard but trusted within podcasting, but also raises questions about misplaced trust.
{"title":"Playing with perspective: Narrative voice and trust in Australian independent podcasts","authors":"Britt Jorgensen","doi":"10.1386/rjao_00038_1","DOIUrl":"https://doi.org/10.1386/rjao_00038_1","url":null,"abstract":"Narrative voice is a frequent site of experimentation in narrative journalism, and in podcasting this voice tends to be more prominent as the listener hears the narrator’s embodied voice. It can build a strong bond with the listener, which is important for independent producers\u0000 as trust is not automatically afforded to them by association with a trusted media organization. This is particularly true for emerging producers, who also lack a professional reputation. This study examines the techniques used in five Australian independent podcasts to understand how they\u0000 experiment with narrative voice as a podcast technique to build trust with the listener. It finds trust is built through narrative voice in four specific ways (1) first-person narration, (2) authenticity, (3) empathy and (4) emotional truth. This may allow for a greater variety of voices to\u0000 be not only heard but trusted within podcasting, but also raises questions about misplaced trust.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"29 1","pages":"137-153"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79659365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The BBC’s first director general, John Reith, believed the plays of Shakespeare were perfect for radio, with ‘little in the way of setting and scenery’ and relying chiefly on plot and acting. However, a closer look at the texts reveals that many require a good deal of adaptation to work in sound only. That has not stopped BBC radio producers creating hundreds of productions over the past century. Instead, it has spurred many of them on to greater creativity. Initially reliant on narration, producers began to devise a wide range of techniques to make Shakespeare comprehensible without visuals. These include specially devised sound effects, soundscapes and music, as well as distorting the actors’ voices in various ways, including using nose-pegs and the assistance of the Radiophonic Workshop. This article uses audio and written evidence to uncover those techniques and examines how successful they have been deemed to be.
{"title":"Noise, narration and nose-pegs: Adapting Shakespeare for radio","authors":"Andrea Smith","doi":"10.1386/rjao_00033_1","DOIUrl":"https://doi.org/10.1386/rjao_00033_1","url":null,"abstract":"The BBC’s first director general, John Reith, believed the plays of Shakespeare were perfect for radio, with ‘little in the way of setting and scenery’ and relying chiefly on plot and acting. However, a closer look at the texts reveals that many require a good deal\u0000 of adaptation to work in sound only. That has not stopped BBC radio producers creating hundreds of productions over the past century. Instead, it has spurred many of them on to greater creativity. Initially reliant on narration, producers began to devise a wide range of techniques to make\u0000 Shakespeare comprehensible without visuals. These include specially devised sound effects, soundscapes and music, as well as distorting the actors’ voices in various ways, including using nose-pegs and the assistance of the Radiophonic Workshop. This article uses audio and written evidence\u0000 to uncover those techniques and examines how successful they have been deemed to be.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":"41-58"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83231555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Working at the intersection of migration studies and radio studies, we interrogate podcasting’s potential as a practice-based activist research method. This article documents podcasting’s role in an ethnographic project conducted together with Konstkupan (The Art Hive), a migrant-focused community arts space in Malmö, Sweden. We argue that the value of podcasting as a practice-based research method exists in its potential to function as a boundary object. Boundary objects are technologies and processes bridging social worlds and providing sites of communication and translation between groups. Challenging narratives that detect a decline in podcasting’s radical potential, we argue that as a boundary object, podcasting’s political significance continues in how it convenes small, diverse, but attentive ‘listening publics’. A boundary object does not demand consensus on the meanings or representations it produces, affording space for both the synchrony and dissonance of narratives produced by migrants.
在移民研究和广播研究的交叉点上，我们质疑播客作为一种基于实践的活动家研究方法的潜力。这篇文章记录了播客在与Konstkupan (The Art Hive)合作的民族志项目中的作用，Konstkupan是瑞典Malmö的一个以移民为重点的社区艺术空间。我们认为，播客作为一种基于实践的研究方法的价值在于其作为边界对象的潜力。边界对象是连接社会世界的技术和过程，并提供群体之间交流和翻译的场所。挑战叙事，发现播客的激进潜力的下降，我们认为，作为一个边界对象，播客的政治意义继续在于它如何召集小，多样，但细心的“倾听公众”。边界对象并不要求就其产生的意义或表现达成共识，为移民产生的叙事提供了同步和不协调的空间。
{"title":"Sounds like ‘home’: The synchrony and dissonance of podcasting as boundary object","authors":"Erin Cory, Hugo Boothby","doi":"10.1386/rjao_00037_1","DOIUrl":"https://doi.org/10.1386/rjao_00037_1","url":null,"abstract":"Working at the intersection of migration studies and radio studies, we interrogate podcasting’s potential as a practice-based activist research method. This article documents podcasting’s role in an ethnographic project conducted together with Konstkupan (The Art Hive),\u0000 a migrant-focused community arts space in Malmö, Sweden. We argue that the value of podcasting as a practice-based research method exists in its potential to function as a boundary object. Boundary objects are technologies and processes bridging social worlds and providing sites of communication\u0000 and translation between groups. Challenging narratives that detect a decline in podcasting’s radical potential, we argue that as a boundary object, podcasting’s political significance continues in how it convenes small, diverse, but attentive ‘listening publics’. A\u0000 boundary object does not demand consensus on the meanings or representations it produces, affording space for both the synchrony and dissonance of narratives produced by migrants.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"27 1","pages":"117-136"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73347766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How can sound be utilized as a tool for political conscientization? COVID-19 has disrupted face-to-face organizing tactics for progressive movements globally, making it necessary to branch out to more mediated forms of grassroots political organizing. In this article, we explore how sound might be employed to invoke an imagined working-class community across ethnic, gender and generational divides against a backdrop of crisis and corruption on the structural level. Through a close listening of a South African radio drama, Plague in the Time of King Kapital and Queen Corona (KKQC), we find that the use of sound enables a worldmaking that is both attuned to structural inequities and imagines a utopian, solidaristic working-class community. KKQC offers a case of worldbuilding and political conscientization through radio drama that is relevant to understanding the possibilities of the genre in the contemporary South African context.
{"title":"Radio drama as a tool for activism in South Africa: The case of Plague in the Time of King Kapital and Queen Corona","authors":"Neroli Price, Laura Garbes","doi":"10.1386/rjao_00034_1","DOIUrl":"https://doi.org/10.1386/rjao_00034_1","url":null,"abstract":"How can sound be utilized as a tool for political conscientization? COVID-19 has disrupted face-to-face organizing tactics for progressive movements globally, making it necessary to branch out to more mediated forms of grassroots political organizing. In this article, we explore how\u0000 sound might be employed to invoke an imagined working-class community across ethnic, gender and generational divides against a backdrop of crisis and corruption on the structural level. Through a close listening of a South African radio drama, Plague in the Time of King Kapital and Queen\u0000 Corona (KKQC), we find that the use of sound enables a worldmaking that is both attuned to structural inequities and imagines a utopian, solidaristic working-class community. KKQC offers a case of worldbuilding and political conscientization through radio drama that is relevant\u0000 to understanding the possibilities of the genre in the contemporary South African context.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"2015 1","pages":"59-77"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87257651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Community Radio’s Amplification of Communication for Social Change, Juliet Fox (2019) London: Palgrave Macmillan, 252 pp., ISBN 978-3-03017-315-9, h/bk, £47.23
{"title":"Community Radio’s Amplification of Communication for Social Change, Juliet Fox (2019)","authors":"John Budarick","doi":"10.1386/rjao_00027_5","DOIUrl":"https://doi.org/10.1386/rjao_00027_5","url":null,"abstract":"Review of: Community Radio’s Amplification of Communication for Social Change, Juliet Fox (2019)\u0000London: Palgrave Macmillan, 252 pp.,\u0000ISBN 978-3-03017-315-9, h/bk, £47.23","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"176 11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72530835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marcelo Kischinhevsky, Itala Maduell Vieira, João Guilherme Bastos dos Santos, Viktor Chagas, M. Freitas, Alessandra Aldé
This article brings the results of an investigation into the role of WhatsApp audio messages in the 2018 Brazilian presidential elections, proposing that instant voice messaging borrows elements from radio language. We started from a broader research, conducted by the Brazilian National Institute of Science and Technology in Digital Democracy (INCT.DD, in its Portuguese acronym), which identified a network composed of 220 WhatsApp groups – all of them with open-entry links – supporting six different candidates. Those groups put together thousands of anonymized profiles linked through connections to similar groups, configuring an extensive network. More than 1 million messages, including 98,000 audios, were gathered and downloaded during 2018 Brazilian electoral period (from June to October). We focused on eighteen audios with major circulation (totalling 3622 appearances) among the ones shared at least 100 times, which were extracted and analysed. The use of radio content analysis techniques pointed out strong evidence that audio messaging remediate radiophonic elements such as intimacy and colloquial language to accelerate disinformation campaigns.
{"title":"WhatsApp audios and the remediation of radio: Disinformation in Brazilian 2018 presidential election","authors":"Marcelo Kischinhevsky, Itala Maduell Vieira, João Guilherme Bastos dos Santos, Viktor Chagas, M. Freitas, Alessandra Aldé","doi":"10.1386/rjao_00021_1","DOIUrl":"https://doi.org/10.1386/rjao_00021_1","url":null,"abstract":"This article brings the results of an investigation into the role of WhatsApp audio messages in the 2018 Brazilian presidential elections, proposing that instant voice messaging borrows elements from radio language. We started from a broader research, conducted by the Brazilian National Institute of Science and Technology in Digital Democracy (INCT.DD, in its Portuguese acronym), which identified a network composed of 220 WhatsApp groups – all of them with open-entry links – supporting six different candidates. Those groups put together thousands of anonymized profiles linked through connections to similar groups, configuring an extensive network. More than 1 million messages, including 98,000 audios, were gathered and downloaded during 2018 Brazilian electoral period (from June to October). We focused on eighteen audios with major circulation (totalling 3622 appearances) among the ones shared at least 100 times, which were extracted and analysed. The use of radio content analysis techniques pointed out strong evidence that audio messaging remediate radiophonic elements such as intimacy and colloquial language to accelerate disinformation campaigns.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"176 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77367873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Examining radio development over a long time span from the late nineteenth to the early twenty-first century, in this article, we claim that radio history is broader than the history of broadcasting only. We suggest looking at radio history through the perspective of intermediality and inter-technology, drawing on five different examples: radiography, radiotelegraphy/radiotelephony, radar and satellites, radiomobile/mobile phones with regard to radio spectrum and packet radio networks, such as Wi-Fi. We demonstrate how and why these (and other) technologies should be considered parts of radio studies even though they do not represent classic examples of radio broadcasting. Overall, this intermedia and inter-technological perspective on radio history offers new ways of rethinking and reformulating the confines of radio studies, as well as contributes to a greater field of media studies.
{"title":"Radio studies beyond broadcasting: Towards an intermedia and inter-technological radio history","authors":"Maria Rikitianskaia, G. Balbi","doi":"10.1386/rjao_00022_1","DOIUrl":"https://doi.org/10.1386/rjao_00022_1","url":null,"abstract":"Examining radio development over a long time span from the late nineteenth to the early twenty-first century, in this article, we claim that radio history is broader than the history of broadcasting only. We suggest looking at radio history through the perspective of intermediality and inter-technology, drawing on five different examples: radiography, radiotelegraphy/radiotelephony, radar and satellites, radiomobile/mobile phones with regard to radio spectrum and packet radio networks, such as Wi-Fi. We demonstrate how and why these (and other) technologies should be considered parts of radio studies even though they do not represent classic examples of radio broadcasting. Overall, this intermedia and inter-technological perspective on radio history offers new ways of rethinking and reformulating the confines of radio studies, as well as contributes to a greater field of media studies.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"1 1","pages":"159-173"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91362786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.
{"title":"Radio drama as art and industry: A case study on the textual and institutional entanglements of the radio play The Slow Motion Film","authors":"Gertjan Willems","doi":"10.1386/rjao_00026_1","DOIUrl":"https://doi.org/10.1386/rjao_00026_1","url":null,"abstract":"This article argues that in order to obtain a deeper comprehension of the radio play as a work of art, one should complement the dominant method of textual analysis with industry analysis. This argument is illustrated by means of a case study on the 1967 Belgian radio play The Slow Motion Film. This radio play is an adaptation (in fact, a re-adaptation as there had been radio adaptations in 1940 and 1950) of the innovative theatre play The Slow Motion Film (1922) by Herman Teirlinck. In order to explain the creative choices of the radio play, which are largely based on the pursuit of fidelity to the source work, the institutional aspect is of great importance. The goal of honouring Teirlinck and highlighting the cultural-historical importance of his work fitted within the broader cultural-educational mandate of the public broadcaster, which prevented a more inventive adaptation. This article argues that in order to gain a better understanding of the radio play as a text, the industrial context also needs to be studied. Furthermore, this article contributes to the largely unwritten history of the radio play in the Low Countries.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"52 1","pages":"227-241"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84650395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article illustrates how research into the history of radio and media can become a methodological ‘tool for conviviality’ by discussing my research into the very low-powered Tokyo station, Radio Home Run. In 1986, Ivan Illich visited Radio Home Run to participate in a programme that not only exhibited characteristics of his concept of conviviality, but that was also partially inspired by this concept as well as his critiques of industrial society and institutional life. During this programme, Illich sat on the floor of a small Tokyo apartment – the station’s make-shift studio – to share food, drink and a microphone with members of the station as he discussed his ideas with those in attendance. About five years prior to his visit, early members of Radio Home Run and its predecessor Radio Polybucket had been inspired by the writings of Illich and other progressive thinkers to develop their own theory and practice of radio-making, which they described as narrowcasting. They implemented this theoretically inspired practice throughout the station’s tenure (roughly 1983–96) both discussing and demonstrating conviviality with Illich during his 1986 visit. In 2016, 30 years after Illich’s visit, I met with former Radio Home Run members to collect oral histories, facilitate group interviews and conduct archival research about the station and its practices. I implemented a methodology that combines traditional practices of media and radio history with practices of art history focused on the perspectives and accounts of creators, such as those advocated by Lucy Lippard and Kristine Stiles. As I travelled throughout Japan to sit, share food and drink and discuss the past with groups and individuals, I experienced what it was like to participate in Radio Home Run’s convivial practices of narrowcasting. I also participated in the collective reconstruction of Radio Home Run’s collective history by documenting conversations as members pieced their memories together and revisited material from their personal archives, which shed new light on the station and its convivial practices. This article discusses and reflects upon the convivial nature of my research experiences in order to propose a methodology of radio and media arts history research that can serve as a methodological tool for conviviality in the present and the future.
本文通过讨论我对功率非常低的东京电台radio Home Run的研究，说明了对广播和媒体历史的研究如何成为一种方法论上的“娱乐工具”。1986年，伊万·伊里奇访问了Radio Home Run，参加了一个节目，这个节目不仅展示了他的娱乐概念的特点，而且部分受到了这个概念以及他对工业社会和制度生活的批评的启发。在这个节目中，伊里奇坐在东京一间小公寓的地板上——该电视台的临时工作室——与电视台的成员分享食物、饮料和麦克风，并与在场的人讨论他的想法。大约在他来访的五年前，本垒打电台的早期成员和它的前身Polybucket电台受到伊里奇和其他进步思想家的著作的启发，发展了他们自己的无线电制造理论和实践，他们称之为窄播。他们在空间站的整个任期内(大约1983 - 1996年)实施了这种理论上受启发的做法，在1986年伊里奇访问期间，他们讨论并展示了与他的欢乐。2016年，也就是伊里奇访问的30年后，我与“全垒打之声”的前成员会面，收集口述历史，促进小组访谈，并对该电台及其实践进行档案研究。我采用了一种方法，将传统的媒体和广播史实践与专注于创作者视角和叙述的艺术史实践相结合，例如Lucy Lippard和Kristine Stiles所倡导的方法。当我在日本各地与团体和个人坐在一起，分享食物和饮料，讨论过去时，我体验了参加Radio Home Run的欢乐窄播练习的感觉。我还参与了“本垒打之声”的集体历史重建，记录了成员们拼凑记忆的谈话，并重新审视了他们个人档案中的材料，这为这个电台及其欢乐的做法提供了新的视角。本文讨论和反思我的研究经验的愉悦性，以提出一种可以作为当下和未来愉悦性方法论工具的广播和媒体艺术史研究方法。
{"title":"Radio and media history as a methodology for conviviality","authors":"Heather Contant","doi":"10.1386/rjao_00024_1","DOIUrl":"https://doi.org/10.1386/rjao_00024_1","url":null,"abstract":"This article illustrates how research into the history of radio and media can become a methodological ‘tool for conviviality’ by discussing my research into the very low-powered Tokyo station, Radio Home Run. In 1986, Ivan Illich visited Radio Home Run to participate in a programme that not only exhibited characteristics of his concept of conviviality, but that was also partially inspired by this concept as well as his critiques of industrial society and institutional life. During this programme, Illich sat on the floor of a small Tokyo apartment – the station’s make-shift studio – to share food, drink and a microphone with members of the station as he discussed his ideas with those in attendance. About five years prior to his visit, early members of Radio Home Run and its predecessor Radio Polybucket had been inspired by the writings of Illich and other progressive thinkers to develop their own theory and practice of radio-making, which they described as narrowcasting. They implemented this theoretically inspired practice throughout the station’s tenure (roughly 1983–96) both discussing and demonstrating conviviality with Illich during his 1986 visit. In 2016, 30 years after Illich’s visit, I met with former Radio Home Run members to collect oral histories, facilitate group interviews and conduct archival research about the station and its practices. I implemented a methodology that combines traditional practices of media and radio history with practices of art history focused on the perspectives and accounts of creators, such as those advocated by Lucy Lippard and Kristine Stiles. As I travelled throughout Japan to sit, share food and drink and discuss the past with groups and individuals, I experienced what it was like to participate in Radio Home Run’s convivial practices of narrowcasting. I also participated in the collective reconstruction of Radio Home Run’s collective history by documenting conversations as members pieced their memories together and revisited material from their personal archives, which shed new light on the station and its convivial practices. This article discusses and reflects upon the convivial nature of my research experiences in order to propose a methodology of radio and media arts history research that can serve as a methodological tool for conviviality in the present and the future.","PeriodicalId":38660,"journal":{"name":"Radio Journal","volume":"32 1","pages":"193-210"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86535317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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