Radio Nouspace is a practice-based research and creative project focused on radio as an art form. The online, on demand, programming is experimental, creative, radio art. The vision is an audio museum and listening gallery where something different happens. Radio Nouspace links sound as raw material with listening and creative endeavors through curation, inquiry, and making.


Radio Nouspace provides a curated museum and virtual listening gallery for historical and experimental radio and audio drama, radio and sound art, sound poetry, and other sound-based narrative projects. All content is available for on demand listening. Learn more.


Radio Nouspace conducts inquiries to further research and creative practices. Topics include audio drama, curating sound, future radio, radio art, radio drama, radio firsts, soundscapes, sound art, and sound poetry. Learn more.


Radio Nouspace provides a laboratory for creative making of radio and sound art. The intent of these projects is to investigate ephemeral sound experiences, encourage listeners to explore and experience a lost sound culture, and consider the conditions under which these sound-based narratives were originally created. Learn more.

There are several publications, presentations, and other outcomes from this effort. Learn more.

Radio Nouspace maintains information and resource links for radio and sound. Learn more.


Radio Nouspace was established in 1997 by John Barber and Dene Grigar as part of Nouspace Gallery & Media Lounge, a virtual environment experimenting with online, participatory communities. Radio Nouscape (as Radio Nouspace Internet Café, with the tagline "the sounds of intelligent cyberspace") provided online teaching and learning opportunities. The "Wednesday Café" program was popular for its broadcasts of local poetry readings over the net to international audiences (Grigar and Barber 2009).

The name Radio Nouspace is derived from "radio" [ecology of related but different phenomena (Dubber 2014)] + "nouspace" [wordplay between "nous" (French for "we," referring to collaboration and sharing as key attributes), "new" (from English, as in a fresh concept), and "noos" (from Greek, pointing to mind and essence)] (Grigar "History & Mission").

Radio Nouspace is inspired by the radio medium and its multilayered cultures, each with an emphasis on sound(s) consciously curated and broadcast as related knowledge modalities (i.e. programs) for the purpose of interpreting and distributing information to a broad public. Radio is based primarily on the sound of the human voice. With no opportunity to see the speaker, we are forced to listen. The radiophonic voice is a trace of the body, immaterial, but still powerful enough to determine some features of the speaking body: tone, disposition, age, origin, gender, education, etc.

Radio Nouspace is guided by these research questions.

How do we make sense of sound as the central component of narrative?
With sound(s) as raw material, what kinds of engaging, immersive listening experiences can we create and share with many listeners to recenter sound as the primary component of narrative, storytelling, and drama?
What about sound-based narratives based on interactivity, collaboration, and social networking among the listeners and between the participants (nee listeners) and the narratives themselves?
If the context of future radio is collaborative, how will multiple storytellers / journalists create, shape, and share stories?
What stories might be told? How? By whom? Would they be global in scope, or local? Would this matter?
Would other artifacts (like promotional/educational materials, website, social media, etc.) increase the effectiveness of sound-based narrative, and promote opportunities for social engagement?
Are other media (beyond sound) necessary? If so, what are they?


Dear Radio Nouspace, came across your site this evening and was excited to see the excellent critical synopses on radio, sound, radio art, and sound art. One of the things that brought me to your site was the material on radio art, and the discovery that my first book (Pieces of Sound: German Experimental Radio) is cited in one of the pieces there.
Daniel Gilfillan, Ph.D. 12 October 2016
Associate Professor, German Studies
Senior Sustainability Scholar, Julie Ann Wrigley Global Institute of Sustainability
Affiliate Faculty, English, Film and Media Studies, Jewish Studies
Arizona State University
School of International Letters and Cultures

Works Cited

Dubber, Andrew. Radio in The Digital Age. Cambridge, UK. Polity Books 2013.

Dubber, Andrew. Radio in The Digital Age: A book (and some associated observations).

Grigar, Dene and John Barber. "Winged Words: On the Theory and Use of Internet Radio," in Going Wireless: A Critical Exploration of Wireless and Mobile Technologies for Composition Teachers and Researchers, ed. Amy C. KimmeHea (Cresskill, NJ: Hampton Press, 2009) 275-288.
Throughout the Odyssey, Odysseus' "winged words," called in ancient Greek epea pteroenta, sustain him in his journey, and gain him great gifts from gods and men alike. While this epic has come to represent what is left of an ancient, lost culture, the notion of well-crafted or passionate words, spoken aloud and intended to be heard by a listening audience, still remains. One iteration of winged words made possible by broadband networks is Internet radio. This essay describes a project, called the Nouspace Internet Radio, that entails using of Internet radio for teaching undergraduate and graduate level rhetoric.