i have been on a very nice icy visit to Falmouth- the new home of my course. the main uni building is occupied with protesting students collecting signatures for a petition against the cuts- i have signed and made friends, but spent most of my time in the library, on the beach, in a boat and in a cottage eating chocolate and drinking wine celebrating new known writers with good friends... Do you know Susanne Kappeler? 'The pornography of Respresention' is a very exciting book ranging over territory in a manner i am not used to- her argument for developing dialogue in community as a starting point for social remedy in quite persuasive. she is particularly passionate about the use of relationship between real people- and breaking the hold of mass media grip on social expression- the effect of transmitter -receiver when the transmitter is a representation of corporate or political agenda (radio voice, authorized personality) apposed to the real time conversation or open dialogic experience where equality is at least aspired for-(Brechts' radio as an Apparatus of Communication) of the access to the media, a voice, a chance to respond, to be heard as well as to listen is more or less a fringes activity?
In the chapter 'Communication', Kappeler writes in protest against medias' appropriation of art-
‘conciousness industry’ is a term coined by H. M. Enzenburger in 1970 to point up the ideological role of cultural industries such as the mass media.
All the students currently attending arts college, might suggest a more open, critical approach to media/art/the world as represented/our own place with that -photographers, creative writers, a masse of educated technology savvy creators- but Kappeler suggests the reference point of much artistic endeavor is caught in a subjectivity that is a reflection of bourgeoisie ideology and dross society- contextual- and is without the self awareness required to break with its subjection to such allusive controls as sexism, racism and consumerism (the status quo is held by the proliferation of stereotype reassurances).
Kappeler writes about the need to view works of art as a whole communicative process, suggesting art and 'communication' is isolated in an ascetic sanctuary; but should be seen to belong to a communicative context which is reality rather than fantasy.
"Representation means the reification of the message. The medium and message are foregrounded, at the expense of the communicators. Representation foregrounds content- the representation 'of'- and obscures the agent of representation." - which so often, is corporate or politically aligned(the warm advertisement voice extolling a product, the 'Dear' in a Bill from your electricity supplier, the use of friendly motifs, stolen from interpersonal communications and reworked to carry messages are rhetorical devices of persuasion rather than relationships of equals).
These ideas can be applied to models of radio- the difference between a refined and official station and a station which keeps it's door open and welcomes interesting occurrences not as news material but as a ground for a interactive reality.
Lucinda, a founding artist of the station was speaking about her fascination with looping today- not only in the studio as a sonic material, but looping within the community- a show might make ripples that feed back as response, whether in the moment as the first broadcast, or over weeks and years and decades with the people effected by what they heard. Radio can be used as a closed circuit- or as a situation of dialogue- between people.
As Lucinda also said, and says on her loop laden Soundart Radio show 'Swimming in the Stream', "if you think you can make radio come on up to Soundart Radio studio and have a go!" ( but in a nice way- this is a invitation to make radio, not a authoritative challenge).
In the chapter 'Communication', Kappeler writes in protest against medias' appropriation of art-
‘conciousness industry’ is a term coined by H. M. Enzenburger in 1970 to point up the ideological role of cultural industries such as the mass media.
All the students currently attending arts college, might suggest a more open, critical approach to media/art/the world as represented/our own place with that -photographers, creative writers, a masse of educated technology savvy creators- but Kappeler suggests the reference point of much artistic endeavor is caught in a subjectivity that is a reflection of bourgeoisie ideology and dross society- contextual- and is without the self awareness required to break with its subjection to such allusive controls as sexism, racism and consumerism (the status quo is held by the proliferation of stereotype reassurances).
Kappeler writes about the need to view works of art as a whole communicative process, suggesting art and 'communication' is isolated in an ascetic sanctuary; but should be seen to belong to a communicative context which is reality rather than fantasy.
"Representation means the reification of the message. The medium and message are foregrounded, at the expense of the communicators. Representation foregrounds content- the representation 'of'- and obscures the agent of representation." - which so often, is corporate or politically aligned(the warm advertisement voice extolling a product, the 'Dear' in a Bill from your electricity supplier, the use of friendly motifs, stolen from interpersonal communications and reworked to carry messages are rhetorical devices of persuasion rather than relationships of equals).
These ideas can be applied to models of radio- the difference between a refined and official station and a station which keeps it's door open and welcomes interesting occurrences not as news material but as a ground for a interactive reality.
Lucinda, a founding artist of the station was speaking about her fascination with looping today- not only in the studio as a sonic material, but looping within the community- a show might make ripples that feed back as response, whether in the moment as the first broadcast, or over weeks and years and decades with the people effected by what they heard. Radio can be used as a closed circuit- or as a situation of dialogue- between people.
As Lucinda also said, and says on her loop laden Soundart Radio show 'Swimming in the Stream', "if you think you can make radio come on up to Soundart Radio studio and have a go!" ( but in a nice way- this is a invitation to make radio, not a authoritative challenge).
