This text addresses the materiality of radio art, situating it within the theoretical frameworks of contemporary research on new materialism as well as the materiality of media and sound. The analysis employs perspectives from Christoph Cox’s sonic materialism and approaches by such writers as Salomé Voegelin, Gregory Whitehead, Allen S. Weiss and Margaret Hall, who emphasise the ontological autonomy of sound and its impact on space and listeners. A critical close reading of the relevant literature is conducted with regard to its applicability to radio art. The article analyses radio art practices structurally and phenomenologically across composition, reception, materiality and technology, aligning with practice-informed media analysis. The author’s aim is to outline and systematise diverse theoretical approaches and frameworks that capture the materiality of radio being, as well as to reveal the ways in which the radio medium co-creates artistic sound reality. The results of the literature and artistic practice analysis highlight the significance of sound’s materiality and its relational character, indicating that sound does not exist in isolation but in interaction with the environment, technology and listener. Consequently, seven dimensions of radio art materiality are delineated, which integrate existing concepts and provide a comprehensive perspective on radio artistic works.

This article presents and discusses a table of audiovisual transformations based on practice-based experience. The transformations were designed to reinforce the link between sound and object by considering what a particular audio process would look like if translated into visual form. The creative work involves installations that focus on objects integrated with projection mapping and electroacoustic sound. Examples of other artists who create object-based works are introduced, followed by a discussion around how electroacoustic music can influence audiovisual approaches. Screen and installation-based audiovisual theory expands on this and links to a two-part table of transformation strategies. The first part of the table describes process-based links that were created to imagine how certain electroacoustic studio techniques would translate to alter visual material. The second part describes broader conceptual links between audio and visual elements. The findings offer an insight into how electroacoustic practice can inform audiovisual composition choices. Whilst the intended use was for sound installations, there is significant scope for others to adopt and adapt the transformation strategies beyond this, including visual artists who wish to work with sound and those seeking to further theorise audiovisual relationships in a variety of settings.

Recent developments in spatial audio and immersive technologies have expanded creative possibilities for composers and sound artists. This article presents a novel prototype of a spherical microphone with an ellipsoid casing and ten motorised condenser capsules, each capable of real-time adjustment of orientation and polar pattern. Unlike fixed-pattern or conventional ambisonic arrays, this design enables dynamic control over spatial coverage and directivity, offering new opportunities for multichannel recording, live performance and interactive sound art. While software-based spatialisation offers some flexibility, physical reconfiguration of capsules provides superior responsiveness and avoids latency, phase artefacts or resolution loss. This is especially critical in performance contexts where immediate acoustic adaptation is required. The system allows direct manipulation of capsule parameters during rehearsal or installation, effectively transforming the microphone into a performative instrument. The article compares the prototype with existing commercial ambisonic microphones, highlighting its distinctive advantages in workflow and compositional strategy. Use-case scenarios demonstrate how real-time control over spatial parameters enhances both technical precision and artistic expressiveness. The article concludes with a discussion of future directions, including collaborative testing with practitioners and integration into creative environments where spatial transparency, fidelity and interactivity are essential.