ABSTRACT Dick undoubtedly had, at many moments in his life and his writing, a living experience of the wildness of radio. He encountered voices through his own radio that had encoded messages for him alone, and his novels are rich with radios that are engaged in all manner of unsettling activity: they change form and regress, they carry cryptic messages that can collapse entire political regimes, they spy and report on people and they reconfigure cultural life for survivors of an apocalypse. When domesticated, the radio can play a normalising role in terms of producing space, time and self by articulating the logics of cultural institutions; when encountered as wild, however, radios reframe experience according to the unfamiliar orientations of the non-human: the ‘plot holes’ of elsewhere, elsewhen and otherwise. This paper explores the wild lives of radios through the various encounters in the worlds of Philip K. Dick, with an emphasis on Time Out of Joint (1959) and Dr Bloodmoney, or How We Got Along After the Bomb (1965).

中文翻译：

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其他地方，其他地方：菲利普·迪克（Philip K. Dick）

摘要迪克无疑在他的一生和写作中的许多时刻都经历了无线电的狂野生活。他通过自己的广播遇到了声音，这些声音单独为他编码了信息，而他的小说中充满了从事各种令人不安的活动的广播：它们改变形式并消退，它们携带着可以使整个政治政权崩溃的隐秘信息，监视并报告人们，他们为末日的幸存者重新配置文化生活。驯服后，广播可以通过阐明文化机构的逻辑，在产生空间，时间和自我方面发挥规范作用；但是，当遇到野外时，收音机会根据非人类的不熟悉方向（即无论何时何地）在其他地方的“绘图孔”重新构造体验。