Projects that concentrate more on music consist of acoustic communication and employ, for instance, assembling of sounds (urban sound – a walk around the town with the microphone; eco sound or acoustic ecology – taking a walk in natural surroundings: may be minimalist, documenting sounds of fire, waves, water, wood, stones), sounds of radio waves and interference, musical collage and mix. The principle of simultaneity discovered in the 1960s is often applied: works sound in parallels next to each other without influencing each other (Merce Cunningham’s dance and John Cage’s music). Concerts or mostly improvised music are transmitted by radio in real time from various places of the globe and the radio listener on the stage becomes another independent instrument. What results besides the actual experience in the concert or at home while listening to several radios is a soundtrack of the event that may be further enhanced by deliberate editing. The possibilities of the Internet, allowing the broadcast of radio programs, make such projects accessible to a wider circle of artists who emphasize communication – on a formal level or on that of interpersonal human communication transcending the scope of artistic creation. Some radio projects enable interactive input, and thus composing, de-composing, destructing and replenishing of acoustic material. Other projects of radio art transmit everyday sounds of the reality that surrounds us at a nightly hour when we do not normally have the opportunity to hear them. Still other projects transmit ordinary sounds of remote real spaces into our own real space: for instance, the sounds of a metropolitan rush-hour get transferred to a smalltown radio circuit or, taking the opposite direction, the sounds of nature or the countryside get transferred into an urban locality. Pirate radio stations exhibit an alternative character for which other than commercial music, image, and style are symptomatic. What counts is the presentation of a community with its own codes and icons, and radio stations that in this respect feel proximity to each other may thus establish closer communication.

Radio increasingly becomes a provocative medium that has proved attractive for a steadily more varied circle of artists. Back in the 1970s, the Canadian Ian Muray instigated a series of projects (Radio by Artists) with the participation by Vito Acconci, Laurie Anderson, Dan Graham, and Lawrence Weiner among others; Weiner became well-known thanks to his “experimental radio theatre” from the mid-1980s that employed spoken word and music as material similarly to the way painters (Jason Pollock is mentioned in Weiner’s text) and sculptors used to employ them. An important name in this domain of art is Bill Fontana who created radio-sound objects (Music from Ordinary Objects, 1977) or sound environments for a chosen space; in a live sound portrait of the city of Cologne thanks to a radio broadcast of real sounds from loudspeakers perched on buildings in the city he transmitted such sounds to make the “city landscape” audible. The development of music that had started with Russolo, Cage, or Pierre Schaeffer’s musique concrete led to an implantation of sounds found in the urban landscape, of industrial sounds into music.** The fascination by this space feels like the gold rush. Composers draw from new sound sources and compose in new ways; thanks to the symbolism of sound objects they reach across to the boundaries of visual art while accepting synthetic as well as real acoustic material.
As an example of the approach of artists to the new medium and to the understanding of their relationship towards the radio and radio art may serve the following fragments from the proclamatory statements by the notable Canadian*** radio artist Hank Bull.

	Radio z ineho pohladu