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Cracked and Broken Media in 20th and 21st Century Music and SoundKelly, Caleb, n/a January 2007 (has links)
From the mid 20th century into the 21st, artists and musicians manipulated,
cracked and broke audio media technologies to produce novel, unique and
indeterminate sounds and performances. Artists such as John Cage, Nam June
Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo
Yoshihide pulled apart the technologies of music playback, both the playback
devices � phonographs and CD players � and the recorded media � vinyl records
and Compact Discs. Based in the sound expansion of the 20th century musical
avant garde, this practice connects the interdisciplinary Fluxus movement with
late 20th century sound art and experimental electronic music. Cracked and
broken media techniques play a significant role in 20th century music and sound,
and continue to be productive into the 21st. The primary contribution of this
thesis is to provide a novel and detailed historical account of these practices. In
addition it considers theoretical approaches to this work. After considering
approaches through critiques of recording media, and concepts of noise, this
thesis proposes novel theorisations focusing on materiality and the everyday.
Ultimately it proposes that these practices can be read as precursors to
contemporary new media, as music and sound art cracked open the fixed
structures of �old media� technologies for their own creative purposes.
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"Minds will grow perplexed": The Labyrinthine Short Fiction of Steven MillhauserAndrews, Chad Michael 25 February 2014 (has links)
Indiana University-Purdue University Indianapolis (IUPUI) / Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction.
Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form.
Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.
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