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Interactive audio dramas – another face of podcasting or a new type of sound art?

Eliza Matusiak

Résumés

La radio évolue face aux nouveaux médias. Les destinataires influencent le contenu qu'ils écoutent, le co-créent par podcasting. Les œuvres interactives d'art audible font de l'auditeur leur personnage, capable de concrétiser l'histoire et de la faire exister. L'article suivant met en évidence les principales caractéristiques distinctives du théâtre d'imagination interactif par rapport au podcasting en tant que méthode de distribution de contenu phonique.

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Texte intégral

Introduction

1Radio, in the era of new media convergence (Deuze, Jenkins 2008: 5-12), has perfectly found itself in the space of new interactive media. Reception practices have changed (Czarnek-Wnuk 2016: 41-50), since with "the era of multimedia that brought with it asynchronism, individualization, programmability and hypertextuality" (Albińska 2011: 77).

2The audience gained the opportunity to individually tailor the audio content to their own needs and requirements. Radio is constantly evolving along with technological development.

3"We are living at a moment of profound and prolonged media transition: the old scripts by which media industries operated or consumers absorbed media content are being rewritten" (Deuze, Jenkins 2008: 5). Broadcasters have gained new ways to reach audiences, including on-demand radio, podcasting and interactive audio stories. These practices were reflected not only in the program offer of radio stations, but also – in audio art with an interactive, hypertextual characters, making the listener somehow a part of the artwork, a character of the interactive audio story. Currently, sound art pieces engage the audience, they are based on its activity and active reception. Martin Lister, Jon Dovey, Seth Giddings, Iain Grant and Kieran Kelly (2003: 21) highlighted, that the audience for new media becomes a »user« rather than the »viewer« of visual culture, film and TV or a »reader« of literature. In interactive multimedia texts there is a sense in which it is necessary for the user actively to intervene as well as viewing or reading in order to produce meaning. This intervention actually subsumes other modes of engagement such as »playing«, »experimenting«, and »exploring« under the idea of interaction”. The environment of audible art is changing and thus – the perceptive situation of the listener of radio dramas, which are at the center of interest of this article, is also changing. Leslie Grace McMurtry has noted – „it is still critical that we pay attention to the past and present of audio drama in order to divine its future" (2019: 4).

4Furthermore,

"Listening habits have always been in flux, though perhaps the recent speeding up the technological change has made and accelerated impact. […]The concept of convergence – the melting of technologies into one device – has absolutely come to pass. […] This has relevance for radio and listening habits, too, as the binge-watching culture and the breakdown of a monolithic concept of public service broadcasting (PBC) in the United States and the United Kingdom has implications for the consumption of radio" (McMurtry 2019: 4).

The purpose and method

5My purpose in following article is to indicate the location of interactive audio art in the radio and sound art space of new media. I am going to analyze whether an interactive drama is one of the ways of podcast’s producing, or whether it is a separate form or genre of sound art. I will also combine the basic and fundamental features of interactive theater of imagination with the main distinguishing features of podcasting as a method of distributing radio content to compare the common points of both phenomena. In the formulation of research conclusions I will be using a qualitative method – content analysis, proper methodology of research on media and media art (Lisowska-Magdziarz 2013: 27-42). The content of the interactive audio drama was subjected to qualitative analysis – its specificity and distinguishing features found in the phonic material of a traditional radio play, considered from the perspective of the interactive nature of the art of sound work and in its relation to podcasting. My analitycal materials are examples of interactive audible works for which the decision-making and the activity of the listener are mandatory.

Radio on-demand

6Grażyna Stachyra in her article analyzing the issue of podcasting as an audio technology has wrote:

"Since its [podcasting – EM] creation in the first half of the first decade of the 21st century, the evolution of podcasting is divided in two trends:

· amateur (non-profit), represented by individual users trying to express themselves, activists, scientists, members of cultural and religious associations and enthusiasts;

· commercial, created mostly by former radio stars and celebrities of the show business world, shunning traditional media and using new media for paid distribution of their products.[…] unrelated to any media institution […], creating forms that sometimes come close to radio art, sometimes again constitute a kind of blog or graphic presentation with a recorded voice background" (Stachyra 2017: 29-30).

7What is more, this trend has further marked its presence on the radio market. As Stachyra complements,

"the strength of the audio industry continues to depend on radio broadcasts, audio »on demand« only provides a fraction of the profit limited to music streaming. The change is primarily dictated by commercial reasons and the prospect of higher profits. A necessary condition for its existence is access to simple tools, allowing both independent and professional creators to distribute podcasts, thus expanding the audiences (Stachyra 2017: 29-30).

8Increasing the potential group of recipients, which the attention of the researcher referred to, means adjusting the radio content to the changing recipients' listening practices. Joanna Bachura-Wojtasik has observed, that "the changing auditory environment is filled with diverse forms of communication definable as a result of progressing mediatisation and technological advance. The auditory medium is similar to a lens focusing all the changes occurring in contemporary culture" (Bachura-Wojtasik 2017: 51). It is obligatory to highlight, that new technological solutions give listeners possibilities to become a part of producing radio content. The listeners elicit new functions towards the radio and its content – they cease to be just interpreters and listeners, they become somehow responsible for the particles of radio transmission. Podcasting is more than a converged medium, „but also a disruptive technology” (Berry 2006: 144), which indicate distinctive thinkig about sound materials and reconsidering preconceptions about audience’s roles in its perception and developing. As Leslie Grace McMurtry argues, podcasting "has significantly changed the audio landscape" (2019: 4). She also has mentioned the 2016 special edition of The Radio Journal, where editors Mia Lindgren and Michele Hilmes pointed out "it’s timely to focus an issue of a journal dedicated to studies of radio and audio media on podcasting, as the field of sound production continues to grow and the power of audio is increasingly discussed in mainstream media" (2016: 3).

9Richard Berry, in his reflections on the changes taking place in radio broadcasting due to the presence of podcasting, noticed:

"Podcasting not only removes global barriers to reception but, at a stroke, removes key factors impeding the growth of internet radio: its portability, its intimacy and its accessibility. This is a scenario where audiences are producers, where the technology we already have assumes new roles and where audiences, cut off from traditional media, rediscover their voices" (Berry 2006: 143).

10Radio receivers on demand become somehow responsible for the selection of the content to be listened to, as it is no longer determined by the radio station schedule. In the face of changes in radio distribution and reception practices, radio art is changing as an immanent component of global radio broadcasting. Also, podcasting can be seen as “a new way to access listeners and in new ways, often with new experiences, it is at the grassroots level that Podcasting offers the most significant challenge to the mainstream and exhibits the characteristics of a disruptive technology” (Berry 2006: 151).

Story on-demand – technological solution

11Therefore, podcasting is a unique form of audio material’s distribution. Moreover, it is moveable, no specific timed schedule exists. Nevertheless, as Richard Berry (2006: 156) has pointed out “perhaps more importantly the listener is not fixed to a defined format of content and can mix genres, styles, formats and even languages. There remains some tendency to use the reference points of older media like radio as a way of understanding Podcasts although there is much that is new and that requires a new perspective”. The lack of attachment to a delimit time schedule, the ability to listen anywhere and anytime, the independence of the recipient, which is guaranteed by the podcast, also finds application in radio dramas. The creators of audio art went a step further – they created artworks that engage the recipient not only in choosing the content themselves for listening, but also – to co-create the work during its perception. The amalgamation of traditional forms and new tools leads to the result in new, interactive audio plays, which do not break with their genres distinctions. As exemplifications of works of this kind can be mark out: The Inspection Chamber produced by BBC and Rosina Sound, Westworld: The Maze by HBO and 360i, Mr Robot. Daily Five/Nine by NBC Universal Media. In the face of non-linear, interactive audio dramas arises a research question about the essence of indicated examples of audio art – is it another type of sound art which is part of term of podcasting, or – a completely new one, which requires exploring and describing, form? There are new technological tools, like intelligent virtual asistants on smart speakers (for instance Alexa by Amazon or Google Home), which make possible for user to bestir in the space of interactive radio drama.

12Phonic art broadcasting wields new media and technological implements with which it is possible to participate interactively in the course of an audio story, which constitutes questions about the transformation of audio art in the culture of interaction. Listening of the evoked nonlinear artworks is made realiable by the capabilities of Amazon Echo smart speaker. The virtual assistant, Alexa, responds to the speaker's voice commands and begins the story. The interaction between the audio drama and the listener takes place as a result of the history engine work, which is activated by commands given to the virtual assistant.

13Hyunji Chung, Michaela Iorga, Jeffrey Voas and Sangjin Lee in their article Alexa, Can I trust you? mention:

"Intelligent Virtual Assistants (IVAs) open a new world, a world where you can talk to a machine as if it were a human and the machine will perform the work you request. For example, when you wake up, »Hey, what’s on my schedule for today? « Before you leave the house, »Hey, what’s my commute? « […]. IVAs may be new and mysterious to some consumers, but they are in the market place today. Gartner has said that the IVA market will reach $2.1 billion by 2020" (Chung, Iorga, Voas, Lee 2017: 171).

14The dynamic, extensive development of the market for voice assistants may not only be one of the examples of how technology penetrates the everyday life of a human being having improved it, made it easier and more organized. The inherent connection of this type of technological solutions with the use of the sense of hearing may indicate one of the manifestations of the auditive turn in media art. The authors of the interative audio plays decided to resign from the linear narration of the story – a nonlinear audio drama is interactive, but still fully audible work. Joanna Bachura-Wojtasik mentioned that:

"New technologies are not a threat to old, traditional forms. Everything that is new in the world of sounds, offers new tools and opportunities for propagating a broadly understood auditoriness. The old and the new do not form oppositions, they rather co-create the auditory communicational space" (Bachura-Wojtasik 2017: 55).

15Radio is becoming nonlinear, hypertextual event space (Aarseth 1997: 12-14). Works of audio art, still based on genre’s indications, are gaining ergodic features (Aarseth 1997: 12-14). The term "ergodic" is derived from the Greek words ergon, meaning "work", and hodos, meaning "path".Espen Aarseth (1997: 12-14) elucidated, that in ergodic literature "nontrivial effort is required to allow the reader to traverse the text". If relate the theory of ergodicity to the radio play, it stands for more than only interpretation by listeners. By using nonlinear storytelling and interactive tools, user is able to moving around in radio drama like in hypertextual novels (Kluszczyński 2009: 34). As Sven Preger (2021: 14) has clarified, "storytelling actually means is using dramaturgical techniques to tell a story scenically and make reality tangible. This neither defines the technique that is used, nor how it is done. Many other terms belong in this cosmos: tension, suspense, hero, protagonist, developmental arc, act structure, plot points, hero’s journey, cliffhanger and many more. Often these terms are all mixed up together". In the interactive radio drama storytelling is nonlinear, which means the listener is able to participate in a dozen alternations of the story.

16Therefore, the listener of the interactive audio theater determines the course of the story as part of the previously prepared by artists event space. Accordingly, is the podcast on-demand or storyline on-demand? An interactive audio story does not implicate only aesthetic values ​​resulting from communing with art. Participant listening proffers a chance for cognitive progress, because it requires constant commitment. Interfering with the course of the history of the presented world is somehow an exemplification of play with form of phonic play. The Inspection Chamber, Westoworld: The Maze and Mr. Robot. Daily Five/Nine are not art pieces, in the spaces of which the recipient can include his or her own, created elements of the story. Withal, there are extensively potential listening paths that it becomes possible to repeatedly modify the form and final shape of the nonlinear play.

Story on-demand – form and comparison to podcasting

17Playing with the form of interactive art is an involving, immersive factor. Fred Rogers and Hedda Sharapan mentioned in their article about the importance of play that:

"Play is an expression of our creativity; and creativity […] is at the very root of our ability to learn, to cope, and to become whatever we may be. To me, play is the process of finding new combinations for know things – combinations that may yield new forms of expression, new intentions, new discoveries, and new solutions" (Rogers, Sharapan 1993: 5).

18Moreover, as Urszula Doliwa has noted, "podcasting is increasingly autonomous over radio" (Doliwa 2019: 38). It becomes a way of distribution that somehow breaks away from the radio. However, it does not abandon its basic genre determinants, because it uses material that is rooted in the typical expression of the radio – voice, sound effects, music and acoustic plans. According to Richard Berry: "As technologies and consumption patterns change, radio has proven that it can adapt" (Berry 2016). Radio is therefore a kind of living organism, evolving along with the reception and technological changes. Berry adds, that "podcasting sounds like radio while at the same time laying stake to its own sense of uniqueness, which might contradict traditionally held concepts of what ‘radio’ is, while often remaining a function of the radio industry" (Berry 2016). Furthermore, audio has unique indicators, which are crucial to contemplate about audible storytelling. As Sven Preger has indicated (2021: 16), "audio provides a scenic sensory experience. The action unfolds directly in the listeners’ ears. This allows them to immerse themselves quickly and completely in the scene; they are close to the events being narrated". For listener it means time for using of imagination to experience the story, it is possibilty to an immersive drown into it. What is more, audio creates proximity and intimacy, it is close and very personal. Audio tells a story, whith its hosts and charachters. As Sven Preger (2021: 17) has added, "we are completely immersed in the thoughts of the narrator and “their” characters. In doing so, we can get as close to the inner life and inner conflicts of the characters as in a novel (e.g. in the personal first-person narrator). As listeners, we always build a relationship with the narrator or host”. Also, audio dissolves space and time and delivers reality experiences (see Preger 2021: 17). These features are strenghts of both – radio and podcasts, but a few differences between them can be seen.

19"One of the biggest differences – Preger (2021: 17) said – is probably listeners’ reception behaviour. While radio functions as a secondary medium, podcast is more of an active switch-on medium. Listeners consciously decide to listen to a particular podcast (this can, of course, also happen with radio programmes, but is much more usual with podcasts). This kind of reception has a direct impact on the attitude that prevails in the respective medium”.

20What is also essential, podcast allows more flexibility and freedom – in a case of form and textual content. "From a storytelling perspective, this leads to a key insight: If people consciously decide in favour of podcasts and actively shape their listening experience, then podcasts are particularly suitable for complex stories" (Preger 2021: 18). But, what has to be indicated, "podcasting, which offers a completely different manner of listening experience, requires its own mode of dramaturgy" (Llinares et al. 2018, 191). It indicates, that in narrative podcasts dramaturgical and acoustic author’s skills are essential like in linear radio.

21The situation of autonomy is similar in the case of interactive audio dramas. Interactive radio plays also gain autonomy in relation to the radio, without departing from its specificity. "Furthermore, its [radio drama’s] most potent weapons are its dichotomy of vast sweep and intimacy; its ability to stimulate reality and the unparalleled ability for our brains to construct our own images" (McMurtry 2019: 8). Therefore, we are currently dealing not only with radio on demand, but also with a story on demand, a story that we can become a participant in.

22As Ryszard Kluszczyński has concluded,

"the artist-author [of the interactive art work – EM] ceases to be the only creator of the sense of the work, which is co-created in this new situation by the recipient in the process of interacting with the artifact. The artist's task is to create this very artifact: the context-system in which the recipient/interactor constructs the subject of this experience and its meaning" (Kluszczyński 2002:31).

23Nowadays there is no permanent medium to which radio drama would be assigned. As Janusz Łastowiecki (2019: 16) writes, "It came out of the radio and is still functioning in it, but more and more often it takes the form of digital CD files and podcasts on websites". A radio play can also take an interactive form, and then the space of an interactive audio drama is an event space, created by the artists a system-context in which the listener constructs the imaginary reality of the audible story. In addition, still referring to Kluszczyński's thesis, it should be noted that the classical radio play is contained within preinteractive nature, because "nothing can be changed in the construction of the work or in its semantics» (Kluszczyński 2002:215). In the case of an interactive audio art, "interactivity becomes – Kluszczyński pointed out – the internal principle of the work, and the recipient – if he/she wants to make it concrete – must take actions that will shape the object of his perception" (Kluszczyński 2002:26). The listener of the ergodic theater of imagination participates in the radio drama-event through interactive play with form. By transposing the script of the traditional radio drama to the requirements posed by the ergodic engine of history, the reception situation in which the listener is located also changes. It is caused by listener-performer decisions, interaction with the work condition the concretization of the work are the guarantor of the given performance. Thus, the listener from the interpreter becomes a kind of user, co-creator of meanings, and in the case of a mentioned audio dramas – also a character.

Contexts of reception

24Create works of this kind evoke new contexts of an audience’s receptions. The interactive audio dramas are making a way to immersive existence in the event space of the story. The listener with interactive implements is concreting audio play. Thus – the listener is becoming the character of the story. In the ergodic audio dramas the distribiution canal is the crucial issue. They were implemented so that their perception is possible by interacting with the virtual assistant. Alexa reacts to the voice commands of speaker’s user and begins the story. Interactions between the listener and the art piece are activated by the instructions given to the Alexa. In this case, the recipient is invited to the world of the presented audio story.

25In the case of Mr. Robot Daily Five/Nine listener personates into helper of main protagonist – Eliot. He stays in constant telephone communication with him and suggests how decisions should be made at the time of choosing – he tells Eliot what to do, and the major character is his voice in the realities of the play. In Westworld: The Maze listener is located in the Sweetwater saloon and his guide is Rose. The action of the story is about the need to find the center of the metaphorical maze while playing the role of an ordinary Westworld host. In The Inspection Chamber, on the other hand, the recipient is an object moving in space, and the task of two scientists is to accurately describe it and introduce it to  a constantly growing database.

26Therefore, the listener of an interactive phonic work adopts a new receiving function – becomes a traveler transferred to the world presented in the story and its role is determined by the conditions of that world. The ergodic event space (Aarseth 1997: 12) invites the listener to explore its territory, however, for exploring and recognizing the realities of interactive art to be possible, it is obligatory to take a specific action – answering the questions of other characters, getting involved in conflicts and adventures. The fundamental structure of radio plays includes an audible event space, in which the listener-traveler is transferred to the world of stories, which may and should explore for the work to occur. The stories are ergodic, so they remain open to interactive concretization. In the event of The Inspection Chamber, Mr. Robot. Daily Five/Nine and Westworld: The Maze the multitude of possible interpretations is beyond doubt. They are works openly semiotically, but structurally closed, although the listener-user may be under the impression of the illusion of double opening. Referring to the words of Ryszard Kluszczyński (1997: 2) , it should be indicated that "interactive art – in general or at least its the most characteristic phenomena – can be recognised, in the framework of classic theories of communication with their three unit model (sender – message – receiver), as a medium which is unable to communicate. The more active an addressee becomes, the less possibility for communication an artist/sender can keep for himself/herself. On the other hand, however, numerous interactive works seem to be able to communicate". The radio play script was not written to contain many different stories determined by the listener's choices. The plots of interactive radio plays is based on one story, a kind of leitmotiv. The listener's decisions lead to varied ways of experiencing the story, but it is still a story that is not subject to significant modification.

27Thus, interactive audio works draw on the specificity of a traditional radio. Although they are a relatively new form, their material, dramatic and expressive solutions do not differ from the native medium. Like podcasts, they occur outside the radio and outside the radio are listened to. What's more, they do not depend on the programming of a specific radio station, so they are a story on demand in a double way – their listening, similar to podcasts, requires the listener's choice, it is not placed in an exact radio program and their materialization depends on the decisions made in the listening process. In addition, both podcasts and interactive radio plays are essentially non-linear because they exist outside of the linear radio program. Morris and Patterson suggest that "podcasting is neither limited to nor defined by its technologies. Rather, it is a set of specific practices and cultural meanings that are entirely entwined with the technologies for its distribution, organization, and consumption" (2015: 221–22). It is necessary to recall Richard Berry, who noticed that "Podcasts are, like radio, an auditory experience. Like radio, we might listen to them alone while doing other things, and like radio, they feature presenters, music, stories and topics that might appeal to a range of listeners. Although in the case of podcasting the content is increasingly niche" (Markman 2012: 550).

28It can be concluded that the niche of podcasts may be their common feature with an interactive radio play. Podcasts often remain niche in terms of taken up themes, they raise issues that are not necessarily relevant to a wide audience of radio stations. In the case of an interactive audio drama, the niche form remains, because it requires involvement and deciding from listener for the work to come into existence. Thus, it seems impossible to receive an interactive radio play just like the accompanying medium, which is somewhat in the background of other activities. Although interactive radio plays and podcasts find many points in common, in my opinion it would be a mistake to identify these phenomena with each other. However, it is worth emphasizing their non-radio distribution and note that although the audio content begins to live out of radio life, they do not give up the means of expression typical for radio expression. Even so, here is the place for hypothesize that interactive radio plays can more easily reach the recipient of podcasts than the recipient of traditional, linear radio.

Conclusions

29The term "interactivity" is a wide concept. It was used in information technology and in the field of studies of relationships between humans and machines. At the present time, "»interactivity« has become a plural notion in numerous fields like information and communication sciences" (Schmidt 2011: 27). To speak about interactivity in media a venture has to be lay out and "maintained by two actors exchanging elements of equal, active and mutual participation" (Schmidt 2011: 27). In audible media this means the possibility of resigning from a fixed time schedule, adjusting programs, the order and time of listening to them to listeners’ needs, as well as the possibility of participating in a non-linear experience in the genre of a radio drama. Audio is no longer a "one-way street".

30"[….] The podcast listener, as clarified Berry, has a different journey, one that starts with making a series of choices. This places podcasting as a ‘pull’ medium, one where the listener is more active in the process of selection and scheduling" (Murray 2009; McClung and Johnson 2010), where there may also be "an emotional investment in the process" (Berry 2016). The situation is identical for the recipient of interactive radio plays – listening to them is an adventure, a non-linear journey through the story's meanders, searching not only for a specific work, but it’s possible listening paths. What is more, many audio stories rely on feeling that the listener is in the center of sounds, of the story. In podcasts, this affection may be possible to sense by "live feeling (although everyone is aware that a podcast has already been produced). But especially podcast makers know that if you create a live feeling in your stories, you will draw listeners right into the story" (Preger 2021: 190). In interactive radio drama this „live feeling” is created in a different, distinctive approach – the listener can not only feel that story unfolds here and now, but also that he/she himself/herself participates in the events, they occur with his/her participation and with his/her involvement.

31In summary, an interactive radio play does not appear to be a twin phenomenon to podcasting. However, it draws on many of its features and reaches for new recipients with new receiving practices who want to have a direct impact on the content they listen to. "Technological advances – McMuctry (2019: 187) explains – such as the podcast have made the creation of audio drama easier, less expensive and potentially more accessible and democratic". Whereas, this contributes to greater reflection on the form of the sound story, its technological modifications and potential listening methods that guarantee an interactive experience for the listener. An interactive audio drama is the way to progress the interpretation accomplishments of listener involved in the plot. Michela Addis concluded, that:

"Such interpretation highlights the active roles played by the subject and the object at the moment of consumption, as both bring different and fundamental contributions to the complex experience of the consumer: the individual’s activity is expressed by his subjective interpretation of the object, while the activity of the latter is expressed by its contribution to the experience in terms of content" (Addis 2005: 729).

32Though, the fact that centers such as BBC, Rosina Sound or HBO are involved in the creation of interactive radio plays, as well as the award received by Westworld: The Maze during International Festival of Creativity Cannes Lions 2019, i.e. the Grand Prix in the Radio & Audio category allow to assume that this is just the beginning in development of a new important way of thinking about the art of sounds and its reception.

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Eliza Matusiak, « Interactive audio dramas – another face of podcasting or a new type of sound art? »RadioMorphoses [En ligne], 7 | 2022, mis en ligne le 29 novembre 2022, consulté le 17 novembre 2025. URL : http://journals.openedition.org/radiomorphoses/2077 ; DOI : https://doi.org/10.4000/radiomorphoses.2077

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Auteur

Eliza Matusiak

PhD Student, The Department of Journalism and Social Communication, University of Lodz, Poland.
Adresse mail : elizahmatusiak[at]gmail.com

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