Cracked media : the sound of malfunction / Caleb Kelly.

Enhanced descriptions from Syndetics:

How the deliberate cracking and breaking of playback media has produced experimental music and sound by artists and musicians ranging from Nam June Paik and Christian Marclay to Yasunao Tone and Oval.

From the mid-twentieth century into the twenty-first, artists and musicians manipulated, cracked, and broke audio media technologies to produce novel sounds and performances. Artists and musicians, including John Cage, Nam June Paik, Yasunao Tone, and Oval, pulled apart both playback devices (phonographs and compact disc players) and the recorded media (vinyl records and compact discs) to create an extended sound palette. In Cracked Media , Caleb Kelly explores how the deliberate utilization of the normally undesirable (a crack, a break) has become the site of productive creation. Cracked media, Kelly writes, slides across disciplines, through music, sound, and noise. Cracked media encompasses everything from Cage's silences and indeterminacies, to Paik's often humorous tape works, to the cold and clean sounds of digital glitch in the work of Tone and Oval. Kelly offers a detailed historical account of these practices, arguing that they can be read as precursors to contemporary new media.

Kelly looks at the nature of recording technology and the music industry in relation to the crack and the break, and discusses the various manifestations of noise, concluding that neither theories of recording nor theories of noise offer an adequate framework for understanding cracked media. Connecting the historical avant-garde to modern-day turntablism, and predigital destructive techniques to the digital ticks, pops, and clicks of the glitch, Kelly proposes new media theorizations of cracked media that focus on materiality and the everyday.

Table of contents provided by Syndetics

• Acknowledgments (p. viii)
• Introduction (p. 1)
• Glitching Digital Audio (p. 6)
• Music and Sound (p. 12)
• The Sonic Turn (p. 19)
• Cracked Playback Technologies (p. 24)
• Manipulated, Cracked, and Broken (p. 32)
• Media Archaeology and Cracked Media (p. 37)
• 1 recording and noise: approaches to cracked media (p. 44)
• Introduction (p. 45)
• 1 The Critique of Recording Technology (p. 46)
• 2 What? I CanÆt Hear You Over That NOISE! (p. 60)
• 2 broken music: the manipulated, modified, and destroyed phonograph (p. 84)
• 1 Broken Music and Early Phonographic Experimentation (p. 84)
• 2 The Crack and Break in Phonographic Sound Production (p. 114)
• 3 Nam June Paik's Broken Tape Loops and Modified Turntables (p. 132)
• 4 Milan Knizak's Broken Music (p. 140)
• 5 Christian Marclay and the Death of Vinyl (p. 150)
• 6 Destroyed Turntables at the End of Gramophonic Culture (p. 184)
• 3 damaged sound: glitching and skipping compact discs in the audio of yasunao tone, nicolas collins, oval, and disc (p. 210)
• 1 The Sound of Glitching CDs (p. 211)
• 2 Yasunao Tone's Wounded Compact Discs (p. 227)
• From Improvisation and Indeterminate Composition to Glitching CDs
• 3 The Unmuted CD Players of Nicolas Collins (p. 245)
• 4 Oval: Pop into Art Music (p. 252)
• 5 Disc and ôRealö CD Damage (p. 275)
• 6 Conclusion (p. 280)
• 4 tactics, shadows, and new media (p. 284)
• 1 The Everyday (p. 285)
• Michel de Certeau's Tactic and Cracked Media
• 2 The Shadows of Technology (p. 295)
• 3 Cracked, Broken, and New (p. 311)
• Notes (p. 322)
• Bibliography (p. 355)
• Index (p. 376)

Author notes provided by Syndetics

Caleb Kelly is a lecturer at the Sydney College of Art, the University of Sydney, Australia.