"The pictures are created by the listener, with a little help from the broadcaster. The pictures are perfect. If you're showing pictures, different things in that picture can distract from the spoken word"
About this Quote
Edwards is making a quiet, almost subversive case for radio as a premium medium in an age that treats visuals as the default proof of reality. His line flatters the audience without pandering: the listener isn’t a passive consumer but a co-producer, assembling scenes internally with “a little help” from the broadcaster. That phrasing is doing work. It recasts journalism not as a delivery system for content but as a collaboration built on trust, attention, and restraint.
“The pictures are perfect” is the provocation. He’s not claiming audio is more accurate; he’s claiming it’s more complete in the way memory and imagination are complete. Your mind renders the story in the textures that matter to you, at the resolution of lived experience, not at the resolution of a camera sensor. It’s a defense of intimacy: a voice in your ear can feel less like a performance and more like a confidant.
The warning about distraction is also an ethical critique of image culture. Once you “show pictures,” the audience starts reading the frame: the bystander’s face, the politician’s smirk, the chyron’s slant, the background clutter. Visuals invite a scavenger hunt for signals that can swamp the actual reporting. Edwards, a pillar of public radio’s tone and pacing, is arguing for a kind of disciplined storytelling where words remain the primary evidence and attention is the scarce resource worth protecting.
Contextually, it’s a veteran broadcaster staking out what radio does best: create focus, not spectacle.
“The pictures are perfect” is the provocation. He’s not claiming audio is more accurate; he’s claiming it’s more complete in the way memory and imagination are complete. Your mind renders the story in the textures that matter to you, at the resolution of lived experience, not at the resolution of a camera sensor. It’s a defense of intimacy: a voice in your ear can feel less like a performance and more like a confidant.
The warning about distraction is also an ethical critique of image culture. Once you “show pictures,” the audience starts reading the frame: the bystander’s face, the politician’s smirk, the chyron’s slant, the background clutter. Visuals invite a scavenger hunt for signals that can swamp the actual reporting. Edwards, a pillar of public radio’s tone and pacing, is arguing for a kind of disciplined storytelling where words remain the primary evidence and attention is the scarce resource worth protecting.
Contextually, it’s a veteran broadcaster staking out what radio does best: create focus, not spectacle.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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