I’ve been putting my foot in my mouth rather a bit too much recently.

At the first In The Dark and Lidf event, I so mis-framed an admiring question, that the photographer to whom it was addressed took offence. Way to mix with the great and the good, Connor.

Last night, while preparing the second event in the series, Alan Hall mentioned that he back-times everything. “Really?” I said, dumbfounded.

“Well, not features, of course” he replied.

He was talking about lectures and such.

So to cover that faux pas, while hopefully also distracting from the others (like getting two only vaguely similar people mixed up), I am pondering: has there been any great movement to define radio features by the passing of time,  rather than emotional triggers?

For example, by deciding a certain element – clip, music, atmos, whatever, should happen at a certain time before the end. And another, and another.

So rather than the perceived or emotional time taking precedence, the actual ticking of the clock matters. I’m talking about crafted features here (a phrase I borrow from Alan Hall’s intro last night, and finally filling a gap in my vocabulary), rather than, say, heavily clocked news sequences or magazines on NPR or the BBC World Service.

Of course, the sounds used will have  a certain emotional resonance and (more than likely) purpose.

Now I haven’t looked into existing theory of this. When I get the chance I’ll check the Resonance FM magazine I got a few years ago to see if it’s been written up.

And you know, it’s just struck me what I’ve been describing.