A literary mix tape that explores the entwined boundaries between sound, material culture, landscape and esoteric belief. Trees rigged up to the wireless radio heavens. A fax machine used to decode the language of hurricanes. A broadcast ghost that hijacked a television station to terrorize a city. A failed computer factory in the desert with a slap-back echo resounding into ruin. In High Static, Dead Lines, media historian and artist Kristen Gallerneaux weaves a literary mix tape that explores the entwined boundaries between sound, material culture, landscape, and esoteric belief. Essays and fictocritical interludes are arranged to evoke a network of ley lines for the “sonic spectre” to travel through—a hypothetical presence that manifests itself as an invisible layer of noise alongside the conventional histories of technological artifacts. The objects and stories within span from the mid-nineteenth century to the present day, touching upon military, communications, and cultural history. A connective thread is the recurring presence of sound—audible, self-generative, and remembered—charting the contentious sonic histories of paranormal culture.

Some issues, 1943-July 1948, include separately paged and numbered section called Radio-electronic engineering edition (called Radionics edition in 1943)

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