The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde

Williams, C

The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde

Williams, C

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Publisher:: Charles Schlacks Jr.
Publication Type:: Journal Article
Citation:: Transcultural Studies: A Series in Interdisciplinary Research, 2017, 13 (2), pp. 239 - 263
Issue Date:: 2017-02-01

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Field	Value	Language
dc.contributor.author	Williams, C	en_US
dc.date.issued	2017-02-01	en_US
dc.identifier.citation	Transcultural Studies: A Series in Interdisciplinary Research, 2017, 13 (2), pp. 239 - 263	en_US
dc.identifier.issn	1930-6253	en_US
dc.identifier.uri	http://hdl.handle.net/10453/127585
dc.description.abstract	Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave sound, previously understood as immaterial, a concrete objectification capable of responding to creative praxis, and so brought about the conditions that enabled a radiophonic art to materialize.	en_US
dc.publisher	Charles Schlacks Jr.	en_US
dc.relation.ispartof	Transcultural Studies: A Series in Interdisciplinary Research	en_US
dc.relation.isbasedon	10.1163/23751606-01302008	en_US
dc.title	The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde	en_US
dc.type	Journal Article
utslib.citation.volume	2	en_US
utslib.citation.volume	13	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	2005 Literary Studies	en_US
utslib.for	2203 Philosophy	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Students
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.issue	2	en_US
pubs.publication-status	Published	en_US
pubs.volume	13	en_US

Abstract:

Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave sound, previously understood as immaterial, a concrete objectification capable of responding to creative praxis, and so brought about the conditions that enabled a radiophonic art to materialize.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/127585