This work describes the utilisation of the tape recorder as an instrument, the methods derived by musique concrète and the evolution of these practices. This leads on to its application that opened different creativity streams to many genres of music that we listen to today. This dissertation dives in the further to talk about to the album ‘My Life in the Bush of Ghosts’ by Brian Eno and David Byrne its cult status, revolutionary production and opens doors to discussing cultural appropriation and copyright infringement.

第一章：緒論。（一）研究動機（二）研究目的：１•瞭解臺北市民使用錄影機的程 度；２•瞭解臺北市民使用錄影機的動機。 第二章：理論與架構。（一）文獻探討。（二）研究架構。 第三章：研究方法。（一）問卷設計與變項測量。（二）抽樣：以臺北市十八歲以上 成年人一百八十名為樣本，進行問卷調查。（三）資料蒐集步驟。（四）資料處理與 統計分析。 第四章：結果的分析與解釋。（一）錄影機的使用程度。（二）錄影機的使用動機。 第五章：結論與建議。（一）結論。（二）建議。

International Telemetering Conference Proceedings / October 26-29, 1992 / Town and Country Hotel and Convention Center, San Diego, California / Due to the vast amount of data required to be collected for design/performance analysis of operational and development systems, there has evolved a real requirement for a high-speed, large capacity, data collection/record system in a small Flight/Ruggedized package. This need is realized by several user communities and factors which include the evolution of small operational vehicles (airborne, land and UAV’s), the desire of weapons manufacturers/integrators to be independent from the vehicle during vehicle integration, and a general need for a field/airborne, reliable portable data collection system for intelligence gathering, operational performance verification and on-board data processing. In the Air Defence community, the need for a ruggedized record system was highlighted after Desert Storm, in which the operational performance of the Patriot Missile was questioned and data collection was not performed to support the performance. The Aydin Vector Division in conjunction with the prime contractor, has come up with a solution to this problem which utilizes a commercially available helical scan 8mm data storage unit. This solution provides a highly reliable record system, ruggedized for airborne and field environments and a low price in comparison with the more traditional approaches currently offered. This paper will describe the design implementation of this small ruggedized, flight worthy Data collection system deemed the ATD-800. It will also discuss the performance and limitations of implementing such a system, as well as provide several applications and solutions to different operational environments to be encountered. Additionally, the paper will conclude with several product enhancements which may benefit the flight test, operational and intelligence communities in the future.

This thesis deals with the history records and charts its development through history to the present. It shows readers the first attempts of recording and reproducing apparatus , describes the history of the devices to play music and invented the phonograph . It outlines the creation of packaging design as a separate art disciplines and maps it over time to the present. The conclusion is devoted to contemporary music media. It outlines the emergence of followers technical revolution , cassettes and compact discs.

De même que le ready-made, il y a maintenant presque un siècle, avait transformé la question « qu’est-ce que l’art » en son contraire (« comment faire pour que quelque chose ne soit pas de l’art ?», ne soit pas transformé en objet d’art puisqu’une simple parole d’artiste, fiat ars, suffisait ainsi à transfigurer tout élément du réel), de même, il devient difficile aujourd’hui de repérer ce qui ne pourrait être, jamais ou par essence, un objet poétique. Devant l’œuvre poétique et plastique de Bernard Heidsieck, il convient de mettre en place une série de critères permettant de distinguer la poéticité d’un « art total ». Nelson Goodman apporte des éléments de réponse en soulignant l’importance d’un paramètre rarement pris en compte : le contexte. La question essentialiste « qu’est-ce que l’art »/ « qu’est-ce qu’un poème » pouvant être remplacée par une autre plus pragmatique «  quand y a-t-il art/poème ? » De ce point de vue pragmatiste, la notion de « contexte » permet ainsi de faire jouer à la fois l’espace (le lieu où s’exécute l’œuvre d’art) et le temps (les circonstances dans lesquelles l’œuvre s’exécute). Ainsi, un même objet ou une même action pourrait, à la fois, être ou ne pas être de l’art, c’est finalement une question de contexte et d’intention initiale. Dans le cas de nos recherches, la question du contexte est primordiale puisque l’inscription d’objets poétiques non exclusivement textuels en poésie et non en arts plastiques, repose en partie, sur leur appartenance aux champs de diffusion (éditoriaux et institutionnels) de la poésie. Cependant, des productions poétiques telles que celles de Heidsieck dont certaines facettes n’appartiennent pas au poétique n’en deviennent pas pour autant « poèmes » du fait de leur présence dans un festival de poésie. Notre projet de recherche a pour horizon une redéfinition du champ « poésie » et de ses outils d’analyse, une tentative de mise en place d’une poétique permettant de prendre en charge de façon féconde les « objets poétiques complexes » _c’est-à-dire hétérogènes du fait de leur appartenance à différents types de régimes esthétiques_ de Bernard Heidsieck. / As well as the ready-made, almost a century ago, turned the question “what is art?” into its opposite (“how can say something isn’t art?”, something wouldn’t be transformed into an art piece since the only artist’s word, fiat ars, was enough to turn any part of the real into art), as well, it has become difficult today, to point what couldn’t be, ever or essentially, a poetic object. In front of Bernard Heidsieck poetic and plastic work, we have to gather a series of criteria that would allow us to distinguish poeticism and “total art”. Nelson Goodman gives us a few answers highlighting the importance of a rarely acknowledged parameter: the context. The essentialist question “what is art?”/”what is a poem?” is turned into a rather pragmatic one “when is there art?/poem?”. From that pragmatist point of view, the idea of “context” allows us to deal with both space (the place where the art work happens) and time (the circumstances when it happens). That means a same object or a same action could or couldn’t be art, which leads us to the question of the context and the intention. For my researches, the context is primordial since Bernard Heidsieck’s poems, which are not exclusively textual, partly inscribe themselves in poetry because of their belonging to the poetry field of diffusion (from the publishing companies to the institutions). In the mean time, these objects don’t become “poems” just because of that poetic context. For those reasons, my project is to try and redefine the term and the field “poetry” and it’s analysis tools, it’s an attempt to build a poetic that would allow us to talk about what I will call the “complex poetic objects” _ complex because they belong to different types of aesthetic regimens _ of Bernard Heidsieck.