•V Hessischer Rundfunk Einer wird ewinnen Opposing a broadcasting authority with the most up-to-date means of Communication at its disposalradio and televisionshould decide tojiake use of the classical publicity medium of the printed word and piFjre, how would its productions look? The responsible executives of ffrlessian radio in Frankfort gave a good deal of thought to this ques- tifsoon after the constitution of the authority in 1948. There were no m: els of printed publicity by radio institutions which might have served as guide except in the United States and a few other countries with ccmercial radio and television, where publicity chiefly took the form ofjie acquisition of orders from radio and television advertisers. [he federal organization of broadcasting in Western Germany, with itfjbmpletely independent, self-administering bodies and its legislatively deled duties, is unique in the world, and this made it desirable and nessary to find a new publicity approach. The aim was to build up Evidence in the authority and its personnel and at the same time to en- co:age listeners and viewers to be selective, and not to deliver them- se':s up blindly to the rich choice of programmes. For there was general ag ament that the many listeners who use radio music only as a sort otfermanent background ought to be taught that carefully sifted pro- grimes really have much more to offer. was clear to all that the form chosen for the attainment of these obats would have to differ from the general run of advertising. The ap'arance of the printed publications would have to be unconventional and contain something of the technical aura of radio and television. In other words, a cultural purpose was to be given visual expression, and this was obviously an ideal opening for the artistic avant-garde. The diffi culties inherent in this scheme were obvious. The character of the reader ship had to be kept in mind, and the practical purpose of the publications had to be fulfilled at all times. While an experimental element in the graphic presentation was desirable, it was also important not to shock or other wise alienate the public. Since that time the circulation of the programme bookletsto take one examplehas doubled, although these are only sent to readers who write in to ask for them. Negative and positive comments on the appear ance of these publications contained in letters from readers are in a ratio of 110. A piquant sidelight is the fact that the negative criticisms very often employ distinctly totalitarian terminology. The endeavour to imprint the image of a radio and television under taking on the publications of the Hessian broadcasting authority has of course not been restricted to programme booklets and posters. The same aim has been pursued in the design of the various press releases and special brochures, and even in the tickets for public concerts and inscriptions on television cameras. There still remain certain 'unmapped areas' in the authority's printed productions, but even these will in due course be carefully surveyed and sign-posted with the Hessian radio's self- created graphic image. Hessischer Rundfunk Freitag, 2. September 1966 20.00 Uhr Funkhaus am Dornbusch Kazu2,-DMab Moj, 29. August 1966 Pa11 fie dier Rundfunk r-auenpforte rel'573 'adtockNachf. üostr. 2;Tel. 287838 UK J.M.Schafer -dzerStr.35 'el'79 Sonderkonzert fur die Internationalen Ferienkurse fur Neue Musik 1966 Das Sinfonie-Orchester des Hessischen Rundfunks Leitung: Andrzej Markowski Solist: Krzysztof Okon Uraufführungen und deutsche Erstaufführungen Nilsson: Vier Proloqe Oppo: Violoncello-Konzert Paert: Perpetuum mobile Varèse: Ecuatorial Lutoslawski: Drei Postludien sf Dm groflc EuropaOm Hessischer Norddeutscher Rundfunk Hans Inanhim 25.1.1964 WUrv T»*BOnz3lT7 VcrvsouJ -MM ""•'MS

Graphis de | 1967 | | page 63