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.



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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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