sub_ʇxǝʇ is an itinerant platform for research, discussion & sonic  knowledge production 

How has eradio changed listener expectations in  comparison to traditional radio? 


“Radio had destroyed the world of his youth, …who cared  about  that now with radio coming in from everywhere?  …Radio gave so  much power to advertising and now  advertising was everything.  The businesses that poured  money into radio got rich and the  ones that didn’t went  nowhere…” 

- Ray Soderbjerg, Radio Romance 

Accounts of radio from the 1930’s eerily match criticism of  (anti)-  social media today. Interrupting, obscuring and  sidelining the  joys of daily life, radio can be said to have  triggered one of the  final detachments of humans from their  local environment. No  more. 

Eradio, a turn of phrase first used in Berlin by the We Are Born  Free platform, maintains the magnetism to draw people together  in real life. Given the technical and organisational complexity of  delivering live content, we see temporary communities emerge   to transmit, witness and support eradio broadcasting. 

Despite  the definitionally remote nature of the medium eradio has  argueably begun to return some of the space occupied by  traditional broadcasting. Social and communal space that at  one  time radio was charged with having taken away. In so doing it may  also continue to break the alienation fostered by the  marriage of late capitalism and web based media. Space is the place. 

One of  the odd particularities for artists using eradio as a  medium is its  ubiquity. Mimicry or repetition usually threatens  to devalue the  apparent originality of the artwork.  But in detaching content  from form or medium from message, the  enormous appeal of  eradio and podcasting creates, in a  sense, an historical  moment. 

For no medium suffers from its reapplication time and  again but rather the opposite. Eradio is not diminished by its  ubiquity despite the fact that listeners rarely hear the work live.  And this is the crux of the eradio enigma; the curious bind  between live transmission and lived, physically real space. 

At a  radio of 10:1 listeners to online radio do so after the event. Yet the  event is critical to working together and creating that  sound,  those shared risks, the relationships built and tested  around  publicity and transmission deadlines. 

In short, while no fixed  physical studio yet exists for the  endeavours of the sub_ʇxǝʇ  platform, a number of sites have  shared in helping to get the  message out there. From 199 at New River Studios, London, Adata  Island in Bulgaria, d.i.y  church, Cashmere Radio or Theatre X in  Berlin, Merapi volcano  and the North Jakarta Sea Coast of  Indonesia, the Gütermarkt  (flee market) and our more regular  space in the Ständige  Vertretung (pictured behind), at ZK/U  Zentrum für Kunst und Urbanistik, Berlin. Each one of these  events in collaboration  with Threads* has revealed the human joy  in social  participation and witnessing. 

The question remains as to  how well prepared such micro-  communities are in the face of  enclosure. With the Soundcloud platform bending to the will of  Universal Studios, and Mixcloud signalling its first restrictions on  what has been  a remarkably copyright-free/different  environment, who can tell where online streaming is headed. 

With  this in mind the sub_ʇxǝʇ platform can only continue in a  scenario  whereby structural threats and opportunities are  central to its  organisation. And in order to do this the platform must once again  return to the nature of what it proposes collaboratively.