No where else in the world can you find the range of disciplines in one school. Over the last 50 years as we forged new programs, built our home in New York and expanded to our global academic centers, institutes emerged. Each are built with shared values, common goals, and a priority for putting students first. The result – a place where artists and scholars create the future.
Visiting students and non-majors are invited to take classes during January Term, Spring at Tisch, and Summer. Earn credits towards your major or minor, build your résumé with an internship, or take classes to change careers. Come be inspired by New York City and our international sites.
The Office of Special Programs at Tisch School of the Arts provides access to the arts. Whether you’re an NYU or visiting college student, high school student or working professional, we provide you with the introductory exposure to the performing or cinematic arts and the advanced-level training to grow your craft.
Wednesday, November 8 at 6:00 pm
Department of Cinema Studies
721 Broadway, 6th Floor
The advent of digital sound not only revolutionized the production and dissemination of traditional both audio and video media, it created a world of new sonic experiences: streaming audio services, podcasts, dramatized audio books, radio on demand. But it also unlocked an old world, long forgotten, of audio art produced for the medium of radio in its “golden years” before the advent of television. Recordings made in a variety of obsolete formats emerged from the dust of the archive onto online platforms where the public can freely encounter them for the first time in more than 50 years.
Radio’s rediscovery raises many intriguing questions. How did we “lose” the US radio heritage in the first place? What is being done to restore its full scope? How might our understanding of film and television history change when radio’s contribution to sonic storytelling can be taken into account? Can forms of soundwork produced in radio’s “new golden age,” marked by the revival of sound drama and documentary, be put in dialogue with forms and techniques first explored decades ago when radio was solely a broadcast form? What needs to happen so that these things can occur?
I argue that we need a new term to embrace our current situation in sound: soundwork, a term denoting creative expression in sound across a wide variety of platforms and technologies. By gathering up the long-dispersed threads of sound history, criticism, and practice into a new category, soundwork, we can begin to adequately celebrate the neglected sonic side of media creativity.
Michele Hilmes (PhD ’89) is a media historian and Professor Emerita of media studies at the University of Wisconsin-Madison.