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.
| Identifer | oai:union.ndltd.org:ADTP/219561 |
| Date | January 2007 |
| Creators | Kelly, Caleb, n/a |
| Publisher | University of Canberra. Creative Communication |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | ), Copyright Caleb Kelly |
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