Mid-twentieth century radio art: The ontological insecurity of the radio text

Mid-twentieth century radio art: The ontological insecurity of the radio text

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In this article, I set out S2 TROPICAL FRUIT to examine the ontological instability of mid-twentieth century artistic works written for the medium of radio that derives from the tension between transient sound and permanent text.I explore how the evanescence commonly associated with sound in general and radio in particular caused mid-twentieth century radio practitioners like Samuel Beckett, Harold Pinter, and Tom Stoppard to strive for both the simplicity of a superficially intelligible aural text and the complexity stemming from the thematisation Ball - Field Equipment - Pitch Machine of ambiguity and epistemological uncertainty.