The materiality of radio art: Towards a theory of radiophonic matter

Abstract This text addresses the materiality of radio art, situating it within the theoretical frameworks of contemporary research on new materialism as well as the materiality of media and sound. The analysis employs perspectives from Christoph Cox’s sonic materialism and approaches by such writers as Salomé Voegelin, Gregory Whitehead, Allen S. Weiss and Margaret Hall, who emphasise the ontological autonomy of sound and its impact on space and listeners. A critical close reading of the relevant literature is conducted with regard to its applicability to radio art. The article analyses radio art practices structurally and phenomenologically across composition, reception, materiality and technology, aligning with practice-informed media analysis. The author’s aim is to outline and systematise diverse theoretical approaches and frameworks that capture the materiality of radio being, as well as to reveal the ways in which the radio medium co-creates artistic sound reality. The results of the literature and artistic practice analysis highlight the significance of sound’s materiality and its relational character, indicating that sound does not exist in isolation but in interaction with the environment, technology and listener. Consequently, seven dimensions of radio art materiality are delineated, which integrate existing concepts and provide a comprehensive perspective on radio artistic works.