The theory of the translation of acoustic art has yet to be written or spoken. The assumption is that it will attribute only very limited possibilities to its object. How could the close entanglement of word and sound, voice and apparatus become disentangled and reassembled? Through the radio plays of Ernst Jandl and the Japanese radio play Marathon, Hermann Bohlen examines the possibilities and impossibilities of the translation of radio plays and arrives at a conception of acoustic art as an individual style in which the separation between idea and realization, between author and voice is abolished.
Part of Der Ohrenmensch