RADIOS ANARCHEOLOGY Ana Paula Machado Velho1 Natlia Martins Besagio2 The word anarcheology is originated from Greek

ARCHAOS (ancient) + LOGOS (knowledge, study), in other words, the study of what is ancient. With the development of the humanities, this concept became wider. Today, that area of knowledge may be understood as the one that studies the current or past societies through the material culture, that is, through traces and material objects. Based on thorough analysis of those traces, it is possible to obtain information in order to reconstruct socio-cultural and environmental aspects. This analytical perspective is closest to the methodology that this article seeks to show. Called as Media archeology, it was thought by Siegfried Zienlinski, polish thinker who was rooted in Germany. Such methodology scans the text, visual and hearing media files, whether they are analogical or digital, emphasizing discursive manifestations and culture subjects as pointed by Oliveira (2011). Zielinskis archeology is structured as a rediscovery process not only for the culture technological objects, but it draws attention to the secrets and the surprises that the world hides (MACHADO, 2002, p. 204). Zielinskis main idea, which is denominated as anarcheology, is the recovery of the history continued flow, the flow between events, phenomena, discoveries and its connection with the present. Its the study not from the means, but their interrelationships. To understand this perspective, it is necessary first to present the reflections about what drives my research: the sound production. The scientific advances made in this area pointed to the esthetics and semantics richness (if one can separate these two parameters) of the radio production in its beginning in Germany and goes to Brazil. The German radio under the archeological perspective In the early days of radio in Germany, the mean programming was the result of a technical and cultural scenery which supported the social relations in that specific time. The productions reflected the spirit of the people and the way of life in the country. In an environment in which the most classical composers, where philosophy filled the books and thoughts and where the art flourished with the patronage of the bourgeois from one of the most prosperous regions of Europe, finding space in the media for the art, the intellectual and working mobilization was more than a potentiality. It is in this scenario that the sound media is built in an educational/cultural perspective.

Master (2001) and PhD (2007) in Communication and Semiotics, by the Program of Post-Graduate Studies at PUC/SP; professor of Masters in Health Promotion, in Maring University Center; journalist of Media Center at the Maring State University (UEM). E-mail: anapaula.mac@gmail.com. 2 Graduated in History in the Maring State University (2008) and has a degree in Journalism from the Maring University Center (2010). Teaches History of Elementary Education and is a producer/host of a radio show, called Oral history in Cesumar University Radio. Has experience in theoretical and methodological research in Social Communication and Education. E-mail: natalia.besagio@gmail.com.

According to Ciro Marcondes Filho (1986), after the war, the German social movements have organized around the radio in order to overcome the economic and social crisis. The first mobilizing manifestations came with the production of debates and text presentations of politically engaged thinkers. In other words, in this socialpolitical context, the radio turns into an equipment of mass approximation, creating a spirit of participation in the communicative process. This will reflect in the program genders that will occupy the German radio specter in the first decades. In this point its possible to relate the radio vehicle to the ecological context, since it adapts to the environment in which it is inserted, transforming the relationship between man and the media, which is now used as a link among the most different social actors. It is still necessary to highlight that the first official radio broadcasting in Germany was registered in November 1923 and gave way to one of the most prominent genders of the German programming: the radio plays. In this first point, theatrical plays that were adapted for the radio were inserted. However, in a little time, the famous hrspiels were born. According to Fernando Peixoto, the products of this gender organize a new universe, in which word and sound, noise and silence, or even music, propose, from technical and /or human effects, a surprising creative reality and even revolutionary (apud SPERBER, 1980, p. 9), what once again shows the environment changing the individual and societys behavior. This information is in the book Introduction to the Radio Play, released in Brazil by George Bernard Sperber, in 1980. This work is a result of an internship that Sperber attended in German, at the invitation of the German government. Under the Medias Archeology, it is seen that the quoted texts in Sperbers book point to fundamental elements that are responsible for the sound production success called hrspiel: the technical elements the microphones various acoustic possibilities to structure the acoustic language marks; the mixing desk and its effects combined to the semantic elements the music, which replaces optical elements, draws psychical situations, dynamics and rhythm; and the word, sound wave carrier of meaning, that gains expression in the phonation. The Brazilian sambaqui Radio has lived, in Brazil, moments in which the programming has been close to the German profile in its nature, but not in its discursive richness. That happened at the time of its organization, but it was lost when Brazilian politics and economy have adapted to the American capitalist profile. This history has been told for years, but maybe it has never been analysed under the archeological perspective, tendency adopted in this article. The radios forerunner in Brazil was professor Edgar Roquette Pinto. The first Brazilian radio to work in the programming models that we know had its grid structured into classical music programs, presentations of scientific texts and a news program in the morning. However, that profile was lost in the other hundreds of radios that appeared in Brazil. The reason for that to happen was political. In 1931, two years after becoming president, Getlio Vargas, inspired in the usage of radio by the German Nazi party, decided to extend the quantity of radio stations in the country. He signed the liberation

of publicity selling by the radios, which increased in number and in size, not being based on Roquette-Pintos idea anymore, but with profit intention, fitting in the American publicity model. So, the Brazilian radio gets the especially prepared text for an impoverishing speech. The programming was structured into modular spaces financed by multinationals with commercial subjects. The messages took bond effect in social scenery no for its contextual and discursive depth, but for the communicators power of speech and the radio stars singers, actors etc. It made the radio Golden Era in Brazil that finished when the televisions arrive, in 1950. In that moment, the miniaturization and portability offered by the transistor, made radio become a companion of all hours, by which someone tells something to another person. Nowadays, the sound broadcasting is going through promising moments. The urban life demands the individual to spend almost the entire day outside home, taking him to look for information and entertainment on the radio. He seeks contact with the world in such a way that he doesnt have to use his hands, that are busy with the professional tasks or with the wheel; he wants to listen to the other, instead of the soundscape noises of the city. To be connected to the vehicle of communication is to be connected to life. In this context, time of exposure of people to the radio has expanded. It is the new era of radio, in which it is still being faced the migration process to the World Wide Web environment, where new terminologies for the sound products are being worked, as the podcast. Therefore, it is not possible to keep the same practices used throughout history, in our analogical dial and the Internet pages. It is necessary to propose new ways of thinking the radio, using the new technologies and narrations that might adequate do the new times of the societys relationship with the sound products. These new shapes proposals have passed, undoubtedly, through the academys researches. We might redefine the radio production. This movement has characteristics that refer to the anarcheological process, which reviews the different aspects from the past to the new proposals discovery. As suggested by Zielinski, effectively explosive models may be called innovative, in the scientific language. Zielinski warns us in many ways about this necessity. He says that cultivating difference dramaturgies is an effective medicine against the growing ergonomics of the technical media world that are happening under the banner of ostensive linear progress (p. 283). More than not following the social changes, by imprinting new features to media products, Zielinski warns us to the fact that we cannot stay behind machines. And they have multiplied in nature and shape, making possible new narration possibilities. Ana Baumworcel says that is necessary to understand radio as means of artistic and cultural expression of a certain people, which encourage the conflict of ideas, thoughts, opinion of all social classes, but also the customs, habits, values, behaviors, beliefs, as well as all the manifestations that express the sensations, feelings, human emotion (BAUMWORCEL, s.d, p. 9). This leads us to Brecht, that in the 30s Germany, reminds us that the senses and reason are not elaborated as being in opposition. They are forces involved together in a stimulating social game, that we may call art. For him, it is a kind of creative, artistic production that can convert the government reports into answers to

peoples questions, [] to put together the lines between the commerce and the consumers [] on bread high prices. [] Finally, the formal mission of the radio is to give these instructive attempts an interesting feature, in other words, making interesting the interests (1932, p.41-42). It is more than that. It is necessary to establish a relationship between this archeological process and the Media Ecology, which studies the means of communication as human intervention environment, including the new historical, material and economic perspectives and the communication process interaction, what leads to the comprehension of the human motivation in a specific context and the way it interferes in the current reality, establishing a connection between Archeology and Ecology.