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Wireless Imagination directly addresses what is perhaps the most
conspicuous silence in contemporary theory and art criticism, the
silence that surrounds the polyphonous histories of audio and radio
art. By gathering both original essays and several newly translated
documents into a single volume, editors Douglas Kahn and Gregory
Whitehead provide a close audition to some of the most telling and
soundful moments in the "deaf century", including the fantastic
acoustic scenarios projected through the writings of Raymond
Roussel, the "gap music" of Marcel Duchamp, the varied sonic
activities of the early Russian avant-garde and of French
Surrealism, the language labyrinths constructed by the producers of
New German Horspiel, and the cut-up ventriloquism of William S.
Burroughs. Approaches in the essays vary from detailed historical
reconstructions to more speculative theory, providing a rich chorus
of challenges to the culturally entrenched "regime of the visual".
Supporting documents include F. T. Marinetti's explosive manifesto
on the aesthetics of Futurist radio and the full text of Antonin
Artaud's blistering radio performance, To Have Done with the
Judgment of God. Although the editors stress in their preface that
this book should not be read as a comprehensive Last Word but
rather as an opening to future discourse, Wireless Imagination
certainly offers compelling evidence that the numbing silence
surrounding sound was made to be broken.
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