- Gebundene Ausgabe: 388 Seiten
- Verlag: Mit University Press Group Ltd (4. September 2009)
- Sprache: Englisch
- ISBN-10: 0262013142
- ISBN-13: 978-0262013147
- Größe und/oder Gewicht: 17,1 x 2,7 x 17,1 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 493.847 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Cracked Media (Englisch) Gebundene Ausgabe – 4. September 2009
Kunden, die diesen Artikel gekauft haben, kauften auch
Es wird kein Kindle Gerät benötigt. Laden Sie eine der kostenlosen Kindle Apps herunter und beginnen Sie, Kindle-Bücher auf Ihrem Smartphone, Tablet und Computer zu lesen.
Geben Sie Ihre Mobiltelefonnummer ein, um die kostenfreie App zu beziehen.
"Caleb Kelly's "Cracked Media" is a welcome addition to the growing body of critical writing on the role of sound in the history of modern and postmodern art. It helpfully extends Douglas Kahn's monumental "Noise, Water, Meat: A History of Sound" in the Arts by focusing on a powerful strain of contemporary sonic art: the creative mis-use of audio playback technologies. As Kelly ably theorizes it, the 'crack' is a productive break that articulates past and future, archaeology and innovation, analog and digital. Hence, this book combines an exhaustive survey and taxonomy of recent experiments with turntables and CD technology (Oval, Christian Marclay, Yasunao Tone, etc.) with a detailed genealogy of these practices that traces them back to earlier moments of sonic experimentation (Futurism, Fluxus, John Cage, etc.). Informed, but not overloaded, by theoretical accounts of phonography and digital media, Kelly helpfully sorts out what is at issue in cracked sound and places this at the cen
"Finally, a deep, scholarly accounting of the aesthetics of failure. Props to Caleb Kelly for laying bare the various histories of 'malfunction' as a compositional device. This book should be required reading for anyone working in electronic music today."--Kim Cascone, Composer and Writer
"For those of us who witnessed and accompanied the advent of the laptop music scene in the late 1990s, this book situates the movement within broader contexts of sound exploration in the 20th century. While theories of the everyday have been applied to music listening, they have not been used to discuss music creation. Kelly shows how the mechanisms of consumer music culture led to new directions in artistic creation. What we see is how the creative act in the age of mechanical reproduction becomes a music of cracked reproduction, and ultimately an art of manual mechanical deconstruction."--Atau Tanaka, Artist, Director of Culture Lab Newcastle
"Fans of both the scratch and the stutter, and those of us trying to make a connection between the two, will find this to be an excellent refresher course--or the gentle introduction they've been looking for. An invaluable reference on the origins of sampling in music and audio art, this book connects the dots and names names. I thoroughly enjoyed it."--Jon Nelson, Escape Mechanism, and www.some-assembly-required.net
Über den Autor und weitere Mitwirkende
Caleb Kelly is a lecturer at the Sydney College of the Arts, the University of Sydney, Australia.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Anyone tackling this vast subject will have to focus on some aspects while ignoring others. Mr. Kelly's take is the use and abuse of recording and playback media, such as the CD, tape and vinyl records. We get details of the works of artists like Nam June Paik, Yasuano Tone and Oval. I found the book to contain many interesting observations and actually felt insprired to try some techniques myself.
The book was less convincing in its attempt to try to find some common denominator for all the different artists. That is probably impossible given the timespan the book covers and the many different approaches described; in any event the use of French philosophers like Michel Certeau unfortunately leads to verbose drivel.
That quibble however shouldn't take away from what is a really informative and at times inspring work.