Anne Thurmann-Jajes (Dr.) is head of the Centre for Artists' Publications at the Weserburg Museum of Modern Art and teaches at the University of Bremen, Germany. She co-chaired the research collaboration Radio Art: On the Development of a Medium between Aesthetics and Sociocultural Reception History, funded by the Volkswagen Foundation (2011-15). She has curated numerous major exhibitions and symposia on Radio Art.
Ursula Frohne (Prof. Dr. phil.) is a professor of art history at Universität Münster and co-chair of the DFG-funded Center for Advanced Study »Access to Cultural Goods in Digital Change«. She also taught at Universität Köln, Brown University, Staatliche Akademie der Bildenden Künste Karlsruhe, as well as Universität Bremen, and she worked as chief curator at ZKM | Zentrum für Kunst und Medien Karlsruhe. In 2014, she was awarded the Leo-Spitzer-Prize for Arts, Humanities, and Human Sciences by the University of Cologne for excellence in research. Her research focuses on contemporary art and technological media, the political dimensions and socio-economic conditions of art and visual culture, and the entanglements of art, public sphere(s), and cultures of debate.
Jee-Hae Kim studied art history, philosophy, and theater, film, and television studies at Seoul National University, South Korea, and the University of Cologne, Germany. She was a research associate for the research collaboration on Radio Art (2011-15), before joining the Department of History of Art at the University of Cologne.
Maria Peters (Prof. Dr. phil.) is a professor of art education at the University of Bremen, Germany. She co-chaired the research collaboration on Radio Art (2011-15).
Franziska Rauh studied cultural studies, musicology, and science of arts at the University of Bremen, Germany. She was a research associate for the research collaboration on Radio Art (2011-15). Since 2018 she has been a lecturer at the University of Bremen, Germany.
Sarah Schönewald studied fine arts and art education, art history, and art and cultural mediation at the University of Bremen, Germany, and was a research associate for the research collaboration on Radio Art (2011-15). She is currently working as an assistant curator at the Staatliche Museen zu Berlin - Stiftung Preußischer Kulturbesitz.

Frontmatter 1
Contents 5
The Editors 9
"I am an artist. I am not anything else."1: -Robert Adrian Smith, 1935-2015 36
The Reception of Electricity: Art as Radio in Literature, Painting, and Performance 39
On Radioart 50
The Museum as an Agent of Radio Art 55
Considering the Sonic Aspects of the Media Environment as an Exhibition Space for Creative Sound-Based Works 64
The Avant-Garde and a Popular Medium: The Berlin Novembergruppe and Radio in the Weimar Republic 80
The Radio and/as Digital Productivism 99
Everyone a Listener, Everyone a Producer! A Collective Journey toward Another Sound of Radio 107
Radio Art in the " Everyday Hand-to-Hand Struggle with Apparatuses?" 118
Radio as a "Minor" Art Practice 127
Radio as a Research Medium for Artistic and Oral-History-Based Research Projects 163
Community Radio as Post-Capitalist Art 173
Radio Art as a Field of Study: The Experimentelles Radio Professorship at the Bauhaus- Universität Weimar 178
Radio as Art? Heart or Gall Bladder? 182
In Simulcast: Archigram and Radio Piracy in 1960s Britain 191
The Radio Voice That Is Telling Me to Go for the Throat of the Other: Two Lessons on Media Politics from LIGNA's Oedipus, Tyrant 205
Doing Radio Art: Direct Media Association's Pacific Rim / Slow Scan 224
Radio Prolife: Eavesdropping on Life 232
John Cage's Cinema for the Ear 243
Peter Roehr's Sound Montages 255
Hörspiel-Pop, Radio Opera, Media Art: On the Reinvention of the Hörspiel by Andreas Ammer and FM Einheit 268
Listen and Participate: The Work of the Hörspielmacher Paul Plamper 276
Dead Spot in Art History 292
Author Biographies 303