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Though diffusion and preservation are hardly contradictory aims, their conjoining nonetheless troubles the qualities most associated with radio: simultaneity and ephemerality.
There is an inescapable paradox at the heart of this project of which we have been acutely aware all along—our object of study no longer exists The fleeting, unrecorded character of early radio seems obstinately to resist the possibility of historical reclamation. Indeed, beyond adding another medium to modernist studies, radio scholarship has been especially attuned to how media are not siloed essences, but comprise mutable, often antagonistic, relations. This article, however, advances a different conceptualization of radio archives, which have primarily been discussed as secondary sources rather than cultural artifacts in their own right.
Broadcasting institutions often developed a symbiotic relationship with external archives; studios gained more material, and archives had a public venue to advertise their holdings. Combining regional, national, and international interests within and outside the BBC, the Recording Scheme exemplifies how radio archiving was an active site of repositioning over national and regional attachment, the political purpose of folk music, criteria of authenticity, and listener appeal. Working at the intersection of different archival formations, Ennis was involved in all capacities of radio archiving as a field collector, scriptwriter, broadcaster, and, at times, source musician.
In more closely examining the productive role of radio archiving, I build upon recent Irish literary criticism that explores the reciprocal development of late modernism and broadcasting. The BBC was not alone in amassing a radio archive of traditional music and song after the war. Roughly the size of a gramophone, these disc-cutters were much lighter than the recording vans used to gather actuality, or sound bites, during the s. Though initially plagued by technical problems, this new equipment enabled unprecedented recording across Britain and Ireland.
Broadcasters often contrasted the benefits of mobile field recording to the detriments of the studio. Whereas the latter transposed participants to an artificial setting where sound was manipulated on a control panel, the former involved collectors gathering material in situ , i. This sound archive was not constructed ex nihlo , but through the remediation of already established field sources who could be tracked down and re-recorded.
Far from comprising a repository of oral recordings gained through fresh encounters, the Recorded Scheme reconfigured numerous extant archives, each with their own criteria of authenticity, systems of classification, and territorial attachments. Ennis would spend most of the next five years in Connemara, County Galway, especially in Carna, a small area west of Galway city.
The ethnographic excavation of western Ireland has often been parodied and criticized.
Even when Ennis had more frequent access to an Ediphone in his last two years at the IFC, its use was supplementary to transcription. As such, the process of collecting field material was neither passive nor strictly sequential.
http://simbainu1.com/2489-smartphone-locate.php Having used sound recording to supplement textual transcription during his work for the IFC, Ennis now worked back through his manuscript archive to make sound recordings for the BBC. Given that the BBC held a copyright for all recorded folk music and song in its sound archive, the remediation of sources from the IFC into the BBC attests to the persisting power dynamics between Britain and its former colony.
Postwar Irish independence entailed not only political but also communicative differentiation.
During the s, de Valera envisioned an Irish short-wave station to be implemented for diplomatic purposes. After all, Ennis and George entitled their pilot radio program Songs from the Four Provinces , demarcating a united Ireland pre-existing the partition of Northern Ireland.