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The Voice as Something MoreEssays toward Materiality$
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Martha Feldman and Judith T. Zeitlin

Print publication date: 2019

Print ISBN-13: 9780226656397

Published to Chicago Scholarship Online: May 2020

DOI: 10.7208/chicago/9780226656427.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 24 June 2022

Screamlines: On the Anatomy and Geology of Radio

Screamlines: On the Anatomy and Geology of Radio

(p.91) 4 Screamlines: On the Anatomy and Geology of Radio
The Voice as Something More

Neil Verma

University of Chicago Press

This chapter is a study of the radiophonic scream in radio thrillers and radio art, employing this special type of limit-case performance as an entry point to a theory of radio itself. The argument uses four well-known scream performances as key coordinates: Gregory Whitehead’s “Pressures of the Unspeakable” (1991), Arch Oboler’s “The Dark” (circa 1940s), Antonin Artaud’s To Have Done with the Judgement of God (1947/48) and Wyllis Cooper’s “The Thing on the Fourble Board” (1948). Taking up the theme of the “anatomy” of the scream as a heuristic when it comes to performing for radio, and the theme of the “geology” of the scream when it comes to scream mediation and preservation over time, this chapter considers the scream as a meeting point between the aesthetic and material pressures through which radio is constituted, inscribed, and theorized.

Keywords:   radio, screams, Antonin Artaud, Gregory Whitehead, Arch Oboler, Wyllis Cooper, aesthetics, media theory, anatomy, geology

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