Tuning in to the neo-avant-garde offers the first in-depth study of the radio play’s significance for the neo-avant-garde. In the postwar period, radio began to function as a site of artistic experimentation for the literary neo-avant-garde, especially in the form of the radio play. In the wake of the historical avant-garde, the neo-avant-garde had a strong interest in aural media, in the seemingly autonomous power of sound and voice. Therefore, it is not surprising that postwar avant-garde artists and literary writers in particular all across Europe, the US and the UK started to experiment with the radio play. Neo-avant-garde artists actively engaged with newly created studios and platforms in the postwar period. The contributions to this book examine how the radiophonic neo-avant-garde stages political questions and acknowledges its own ideological structure, while taking into account the public nature of radio. Alongside these cultural and political contexts, the book also reflects on intermedial and material issues to analyse how they have impacted artistic production in different parts of the world. Specific attention is paid to how artists explored the creative affordances of radio and the semiotics of auditory storytelling through electroacoustic manipulation, stereophonic positioning, montage and mixing, while also probing the ways in which they experimented in related genres and media such as music, sound poetry and theatre, questioning the boundaries between them. Because of its exclusive focus on the audiophonic realm, the book offers a valuable new perspective on the continuing debate surrounding the neo-avant-garde and its relationship with the historical avant-garde.
Minimalist media ecologies
In the late 1960s and early 1970s, the Swedish writer, artist and composer Åke Hodell would turn to radio and the recently invented genre of ‘text-sound-composition’ in order to expand and differentiate his avant-garde practice. Hodell had, at this point, a fascinating biographical and artistic trajectory behind him. As a former pilot in the Swedish air force, he had experienced a heavy crash during a training session in the south of Sweden in 1941. He survived, but was severely injured and forced to endure a long convalescence
The acoustic neo-avant-gardes between literature and radio
Inge Arteel, Lars Bernaerts, Siebe Bluijs, and Pim Verhulst
contribution of audio drama to the neo-avant-garde from 1945 to the present, in chapters dealing with genres that border on the radio play, such as sound collage, sound poetry, text-soundcomposition, features and the radio documentary. The chapters will address 1) institutional and contextual aspects of audio drama, 2) technological, intermedial and material issues, alongside 3) historical, ideological and political contexts.
International unions and national broadcasting corporations such as the WDR in Germany, RAI in Italy and the BBC in the UK helped to create a