Carolyn Birdsall – författare

A century ago, the emergence of radio, along with organized systems of broadcasting, sparked a global fascination with the ‘wonder’ of sound transmission and reception. The thrilling experience of tuning in to the live sounds of this new medium prompted strong affective responses in its listeners.This book introduces a new concept of radiophilia, defined as the attachment to, or even a love of radio. Treating radiophilia as a dynamic cultural phenomenon, it unpacks the various pleasures associated with radio and its sounds, the desire to discover and learn new things via radio, and efforts to record, re-experience, and share radio. Surveying 100 years of radio from early wireless through to digital audio formats like podcasting, the book engages in debates about fandom, audience participation, listening experience, material culture, and how media relate to affect and emotions.

A century ago, the emergence of radio, along with organized systems of broadcasting, sparked a global fascination with the ‘wonder’ of sound transmission and reception. The thrilling experience of tuning in to the live sounds of this new medium prompted strong affective responses in its listeners.This book introduces a new concept of radiophilia, defined as the attachment to, or even a love of radio. Treating radiophilia as a dynamic cultural phenomenon, it unpacks the various pleasures associated with radio and its sounds, the desire to discover and learn new things via radio, and efforts to record, re-experience, and share radio. Surveying 100 years of radio from early wireless through to digital audio formats like podcasting, the book engages in debates about fandom, audience participation, listening experience, material culture, and how media relate to affect and emotions.

A century ago, the emergence of radio, along with organized systems of broadcasting, sparked a global fascination with the 'wonder' of sound transmission and reception. The thrilling experience of tuning in to the live sounds of this new medium prompted strong affective responses in its listeners. This book introduces a new concept of radiophilia, defined as the attachment to, or even a love of radio. Treating radiophilia as a dynamic cultural phenomenon, it unpacks the various pleasures associated with radio and its sounds, the desire to discover and learn new things via radio, and efforts to record, re-experience, and share radio. Surveying 100 years of radio from early wireless through to digital audio formats like podcasting, the book engages in debates about fandom, audience participation, listening experience, material culture, and how media relate to affect and emotions.

A century ago, the emergence of radio, along with organized systems of broadcasting, sparked a global fascination with the 'wonder' of sound transmission and reception. The thrilling experience of tuning in to the live sounds of this new medium prompted strong affective responses in its listeners. This book introduces a new concept of radiophilia, defined as the attachment to, or even a love of radio. Treating radiophilia as a dynamic cultural phenomenon, it unpacks the various pleasures associated with radio and its sounds, the desire to discover and learn new things via radio, and efforts to record, re-experience, and share radio. Surveying 100 years of radio from early wireless through to digital audio formats like podcasting, the book engages in debates about fandom, audience participation, listening experience, material culture, and how media relate to affect and emotions.

Sonic Mediations: Body, Sound, Technology is a collection of original essays that represents an invaluable contribution to the burgeoning field of sound studies. While sound is often posited as having a bridging function, as a passive in-between, this volume invites readers to rethink the concept of mediation by examining the relationships between the body, sound and technology. The chapters provide a series of focused case studies involving sound and music technologies, performances and installations, which address key issues for sound scholars: How are audio performances mediated by sound technologies as well as the performer's body? In which ways is the immediacy of live performance influenced by sound technologies? How do bodies and technologies mediate the experience of auditory perception? What is the role of the listener in audio-based performances? How does sound mediate the experience of viewing optical media and how does this complicate vision-oriented theories of spectatorship? By incorporating a range of interdisciplinary responses to these questions, Sonic Mediations provides a model for the future of sound studies.

Die aktuellen gesellschaftlichen Debatten um Fragen der Teilhabe von Frauen im Kultur- und Medienbetrieb sind nicht so neu, wie sie angesichts ihrer Dringlichkeit bisweilen erscheinen mögen. Das Arbeiten von Frauen wurde schon in der ersten Hälfte des 20. Jahrhunderts kontrovers diskutiert, denn hier traten Frauen in neuartige Beschäftigungsfelder im Bereich der Medien und Künste ein.Der Sammelband unternimmt eine Spurensuche nach Akteur*innen innerhalb der deutschsprachigen Medien- und Kulturlandschaft dieser Zeit: Unter dem Stichwort ,Arbeiten'' beleuchtet er einerseits Kunstwerke, Medienerzeugnisse und technische Fertigkeiten, andererseits die institutionellen und gesellschaftlichen Rahmungen solcher von Frauen geleisteter Arbeiten. Aus dieser doppelten Perspektive und mit Blick auf Arbeitsbereiche in Zirkus, Theater, Musik, Film, Rundfunk, Verlagswesen und Fotografie untersuchen die Autor*innen, welche Chancen Frauen ergriffen, gegen welche Widerstände sie anzukämpfen hatten und mit welchen Mitteln sie beides taten.Immer wieder geraten dabei Quellen in den Blick, die die Sicht auf die Vergangenheit ebenso freigeben wie sie diese zu verhüllen vermögen. Ihrerseits selbst Medienerzeugnisse der Zeit, werden diese Quellen folglich daraufhin beleuchtet, welche Tätigkeiten und welche Akteur*innen sie dokumentieren, was und wen sie verschweigen oder verstellen, wie sie bestehende Geschlechterbilder konterkarieren oder bestätigen. Angelegt als medienhistorische Analysen und biografische Miniaturen stellen die Beiträge des Sammelbands vielseitig dar, wie und unter welchen Bedingungen Frauen als Zirkus- und Theaterkünstlerin, als Rundfunkarchivarin und Filmregisseurin, als Musikproduzentin, Schriftstellerin, Telefonistin oder Clubbetreiber*in tätig waren.Mit Beiträgen von Carolyn Birdsall, Theresa Eisele, Hannah Eßler, Mirjam Hildbrand / För Künkel, Georg Kasch, Sofía Letier, Jingwen Li, Viktoria Maillard / Nicola Reißer, Friederike Oberkrome, Marlo Pichler / Eva Steffgen, Larissa Schüller, Lotte Schüßler und Sarah Stührenberg.

Memory studies is a nascent and multidisciplinary research field, drawing from an impressive array of qualitative investigative methods deployed to do memory research. The authors in this collection offer an explicit engagement with the ‘doing’ of memory research. The contributions demonstrate how attention to methodology reveals rich insights about memory and its links to place and identity.

Memory studies is a nascent and multidisciplinary research field, drawing from an impressive array of qualitative investigative methods deployed to do memory research. The authors in this collection offer an explicit engagement with the ‘doing’ of memory research. The contributions demonstrate how attention to methodology reveals rich insights about memory and its links to place and identity.

Memory studies is a nascent and multidisciplinary research field, drawing from an impressive array of qualitative investigative methods deployed to do memory research. The authors in this collection offer an explicit engagement with the ‘doing’ of memory research. The contributions demonstrate how attention to methodology reveals rich insights about memory and its links to place and identity.