Creative Abuse

Musicology of Electroacoustic Music [MEM]  >  Aesthetics  >  Digital Aesthetics  ]

This somewhat odd term refers to musicians using instruments, objects and/or digital protocols for use in manners that differ greatly from those known generally. For example, turntablists use their instrument in a manner in which the turntable was never intended to be used. Those musicians who have found creative uses for feedback, the bane of many live musicians’ existence, form another example.

 

Bibliography:

English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Ashline, William H. (2003). The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv
Bennett, Justin (1999). BMB con.: Collaborative Experiences with Sound, Image and Space
Burtner, Matthew (2003). Regenerative Feedback in the Medium of Radio: {Study 1.0 (FM)} for Radio Transceiver
Cascone, Kim (2000). The Aesthetics of Failure: “Post-Digital Tendencies in Contemporary Computer Music
Collins, Nicolas (2006). Handmade Electronic Music: The Art of Hardware Hacking
Goldsmith, Kenneth (1999). It was a bug, Dave: The Dawn of Glitchwerks
Landy, Leigh (2004). There’s Good News and There’s Bad News: The impact of new technologies on music since the arrival of household electricity and the phonograph including potential adventures to look forward to
Monroe, Alexi (2003). Ice on the Circuits/Coldness as Crisis: The Re-subordination of Laptop Sound
Richards, John (2006). 32kg: Performance Systems for a Post-Digital Age
Smith, Sophy (2000). Compositional Strategies of the Hip-hop Turntablist
Stuart, Caleb (2003). Damaged Sound: Glitching and Skipping Compact Discs in the Audio of Yasunao Tone, Nicolas Collins and Oval
Vanhanen, Jane (2003). Virtual Sound: Examining Glitch and Production
Voorvelt, Martijn (2000). New Sound, Old Technology

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