Repensar a rádio (desde a origem)

«Radio is a classic modernist invention in the futurist tradition of the 1910s and 1920s, as evidenced by the early proclamations of the radio fantasists, such as Velimir Khlebnikov, Nicholas Tesla, Howard Armstrong, and cultural critics Bertolt Brecht and Rudolf Arnheim (Strauss, 1993). In the 1920s, before radio's style of electronic writing was fixed in the technical and public imagination, radio theorists imagined drive-in radio (the soundtrack to images projected on walls); internet-like linkages across continents as radio clubs; radio auditoria for public programs in different parts of a country; and radio libraries (Khlebnikov, 1993 [1922]).

The exercise of' rethinking radio - once the task of such artists and cultural theorists - is today in the hands of specialists versed in structuralism and poststructuralism, such as the British radio theorists Andrew Crisell (1986), Peter Lewis (1989), and Paddy Scannell (1996).

Yet radio is still more of a mechanism for bridging or contradicting pre-modern notions of countries and borders; for establishing linkages across epochs and peoples; for introducing unexpected variety or dissonance into presumed harmony than it is a medium of reflexive deconstruction. 

At first glance, digital radio technology pulls radio inextricably toward a postmodern consciousness: the process of production involves a simulacrum, in Baudrillard's terms, of sound as digits without a precise, external referent. (...)»

DAVID KING DUNAWAY, Digital Radio Production, New Media & Society, Vol. 2, No. 1, 29-50 (2000)
© 2000 SAGE Publications