564 / 658
562
Saturday, November 12
1 6 : 0 0 – 1 7 : 3 0
of the character of various parts of the city. As essential sonic effects, which occur regarding categorized sound, affect the shape of one’s place attachment,
it is also the physical and social bonds that are formed accordingly. An Android application that allows blind users to provide geolocated quantitative af‑
fect-related information (mainly as points in Russell’s circumplex model of affect) has been developed and used in a number of soundwalks that took place
in the city of Limassol, Cyprus. Using the cases both of the city centre of Nicosia and Limassol city too the study traces such sound components which exist
in urban everyday life, points them out and examines the way people give meaning to their place through them. Keywords Urban sound, soundscape, place
meaning, place attachment.
PP 686
Radio Sounds in Times of Strain and Anxiety: Analysis of the Audios in the Chilean’ (1973) and Egyptian’ (2013) Coups
I. Agirreazkuenaga
1
, E. Garai
2
, K. Meso
2
, A. Larrondo
2
1
University of the Basque Country, Journalism, Leioa, Spain
2
University of the Basque Country, Leioa, Spain
For months the Egyptian theatre was being set for a tragedy –introduction to the climax in July 3, 2013– no less dramatically memorable than the one that
unfolded on the Chilean Palacio de la Moneda nearly forty years earlier. Several authors (Tamimi, 2014; Dorfman, 2015) have recently argue the striking
resemblances as well as important dissimilarities between both coups, the position of its defeated leaders and their subsequent reactions from citizens
attending the events. In human terms, in such acts that have the ability to tense an entire country and its inhabitants, there is a key player: the voice,
the leader's, the defeated or revolted ones. The voices of rebels and leaders and their transmission through sound are the purpose of this study, particularly
the voices spread by waves, and that three or forty-three years later, can still create atmospheres and build realities every time one listens to them. On 11
September 1973, President Salvador Allende spoke his last words, before killing himself, during the bombing of La Moneda Palace. Radio Magallanes fully
reproduced the nearly 15 minute’s speech, now accessible in the archive of the Museum of Memory and Human Rights in Santiago de Chile. Military forces
removed President Mohamed Morsi and the Constitution was suspended in Egypt in July 2013, followed by massive crowds gathered inTahrir Square to both
protest and defend Morsi. In his radioed and televised statement, General Fattah al-Sisi noted the armed forces were adhering to their civil responsibility
and not looking to move power. Again, voices, protagonist, the media, spreading and recording the voices for posterity. The colour and rhythm of those
voices in the atmosphere of the moment, and how they helped not only at the time to strengthen the courage of those who fought against the uprising,
but also afterwards not to make them feel alone. Radio, from its beginnings until today, is an autonomous being that fills the atmosphere of solitude to
humans. As television remains in 2D, the sounds of the radio cover more real physical space, as waves can bring hysteria, hope, fear or tranquillity. In this
study the colorimetry, phonetic and rhythmic quality of the main actors' voices are analysed in events of crisis and tension, as the ones aforementioned,
to vocally identify and determine the sound of coup, 43 and 3 years earlier, similarities and differences of voices that precede human and social tragedies.
PP 687
Active Listeners in Radio Plays: Aspects of Radio and Game in the German "Radiorollenspiel"
L. Mattil
1
1
Rheinische Friedrich-Wilhelms University of Bonn, Institute of Linguistics- Media and Sound Studies Department of Media Studies, Bonn, Germany
In Germany, the radio play emerged in the 1920s as a new form based on the characteristics of theatre plays. Since then, the radio play has undergone sever‑
al changes developing its own aesthetics over the years. Now in the context of media convergence there are once again new forms emerging in Germany and
radio plays using elements of games have been created: The apps„39“ (WDR) and„BLOWBACK | DIE SUCHE“ (Deutschlandradiokultur) both make it possible
for the user to be active while listening to the story. So on one hand, users are participating as gamers, on the other hand they are still listening to the radio
play as such. Another example for this is the form of “Radiorollenspiel” as a mixture of radio play and role-playing game. This new form is based on some
general characteristics of radio plays, for example presenting different performers acting as various characters, using music and sound effects, telling a story
and focusing on the audible. What is different from the traditional radio play is the active role that some of the listeners can play: Three persons can phone
in and be part of the story. They have to follow certain rules imposed by the given setting, but they may move freely in this fictional world and act as they
choose to. Because of this, the ending of the story is not fixed: the players may succeed or lose depending on their actions. So playing a “Radiorollenspiel”
twice with other listeners can result in two totally different stories. Additionally to being broadcast on air, this new form was also presented live on stage
still allowing some of the listeners to be part of the radio play but at the same time making it possible for many more listeners to witness the production
process. This form of presentation shows how radio can become a part of our cultural life. At the same time it reveals how radio plays – having emerged
under the influence of theatre plays – can be presented on stage as a totally new form. This study analyses how listeners can take part in a “Radiorollen‑
spiel”as players. Since Bertolt Brecht described an utopia of radio as a so-called“Kommunikationsapparat”, participation on air has been an important topic
for radio research. In this context, “Radiorollenspiel” is more than just a vox-pop, a call-in or communication via social media since it offers at least some
listeners to be part of a piece of radio art and have strong influence on the outcome. By using the method of content analysis, a story having been presented
twice (on air and on stage) is analyzed closely as a form between radio play and role-playing game: It shows how different actions of the players provoke
different reactions from the actors and how the players’decisions can lead to a totally different result although the given world is the same in both versions.