The Media Archaeological Repairman

Riis, Morten

doi:10.1017/s1355771813000228

Cited by 5 publications

(7 citation statements)

References 25 publications

(24 reference statements)

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“…Failure and breakdown are not phenomena exclusively associated with modern digital computer music; the malfunction of machines is a constantly continuing factor for the use and existence of technology, and this thesis will examine some of these inevitable errors of the machine through the pre-electronic case of mechanical music. (Riis 2012a: 15, also see Riis 2013).…”

Section: Artistic Researchmentioning

confidence: 95%

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Provoking, Disturbing, Hacking: Media archaeology as a framework for the understanding of contemporary DIY composers’ instruments and ideas

Groth¹

2013

Org. Sound

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The article is a discussion of works by two Danish composers who both, with self-constructed instruments, challenge computer music as genre, the understanding and use of conventional technology, and the music's relation to history. At first glance, the use of homemade instruments appears to be a common characteristic. But, when one takes a closer look, different discourses and various discussions of media and materiality are revealed. In the article the various positions are unfolded through discussions within the theoretical field of media archaeology -a science with its roots in media studies, but also an important framework for the production and understanding of a variety of DIY practices.The overall purpose with the article is twofold: on the one hand it illustrates how theories from the field of media archaeology contribute interesting perspectives to discussions of artistic work within the area of DIY. On the other hand, it also serves as a critical discussion of media archaeology as not necessarily the solution to every aspect of artistic practices. The two artists are Morten Riis and Goodiepal.

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Section: Artistic Researchmentioning

confidence: 95%

“…In this way the intention of a non-hermeneutical intention is communicated successfully. Or, in Riis’ own words: ‘a complex shifting between material physicality and symbolic pre-determinacy is unfolded’ (Riis 2013)…”

Section: Artistic Researchmentioning

confidence: 99%

Provoking, Disturbing, Hacking: Media archaeology as a framework for the understanding of contemporary DIY composers’ instruments and ideas

Groth¹

2013

Org. Sound

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“…As David Fuller discusses in his paper 'An introduction to automatic instruments' and as mentioned by Riis in his article in this issue, the 'machine' acts as a form of documentation, an encapsulation of a compositional idea (Fuller 1983;Riis 2013). It is not just about sound.…”

Section: Artefact As Documentmentioning

confidence: 99%

“…The physical artefacts produced through DIY and DIT practice constitute a form of documentation. As David Fuller discusses in his paper ‘An introduction to automatic instruments’ and as mentioned by Riis in his article in this issue, the ‘machine’ acts as a form of documentation, an encapsulation of a compositional idea (Fuller 1983; Riis 2013). Schematics take on a greater significance not just as a plan of a functional circuit, but a document that reveals an artistic process.…”

Section: Artefact As Documentmentioning

confidence: 99%

Beyond DIY in Electronic Music

Richards¹

2013

Org. Sound

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Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the ‘something to take home’ factor. These include the following works: ICA Solder a Score, Noise Shadow, Still and Cut & Thrust. Composing ‘outside’ electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by ‘non-experts’, serves to establish a naïve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community ‘full of experts’ and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: ‘In DIY practice, where does the authentic document of the work lie?’

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“…This theme was taken further in volume 11, which foregrounded such issues as archiving (Chasalow 2006;Dal Farra 2006;Waters 2006), preservation (Emmerson 2006), approaches to technological obsolescence (Bullock and Coccioli 2006;Polfreman, Sheppard, and Dearden 2006;Wetzel 2006;Yong 2006) and the study of tools and techniques as a method in historical musicology (Manning 2006). Issue 18.3 -'Re-wiring Electronic Music' -included a few articles documenting recent creative practice that implicitly adopts a historiographic or media archaeological perspective (Paiuk 2013;Parker 2013;Riis 2013). Finally, issue 20.1, marking '20 Years of Organised Sound', had an explicitly retrospective emphasis, and included a range of personal reflections on electroacoustic music's history, as well as an article on canon formation in its literary history (Mooney 2015).…”

mentioning

confidence: 99%