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- W1998502730 abstract "The celebrated tabletop guitarist Keith Rowe has provocatively aligned the new electro-acoustic improvised music with the aesthetics of Duchamp rather than its musical forebears in electro-acoustic music or improvised music in general. However, on examination, this association does not hold. Rowe’s reading of Duchamp is rather partial and overlooks the latter’s radical intervention into the field of painting. Rowe’s version of Duchamp is of an artist who widened the parameters of what might be used to produce an artistic object. Rowe, therefore, attends much more closely to Duchamp’s recuperation of the objet trouvé rather than the critique of art that Duchamp supplied. Instead, the innovation of electro-acoustic music lies in its privileging of “glitch” aesthetics, the “pariahs of sound,” sonic attributes that had been historically purged from musical language and that in a different manner can be seen to exemplify Duchamp’s concept of the infra-thin – not one of “nomination” but rather aural toleration and acceptability. In the end, in looking at the work of Duchamp scholar Thierry de Duve and recent examples in electro-acoustic improv, we can see that Rowe’s ambitious statement is inadequate and a “post-Artaudian” description is more appropriate." @default.
- W1998502730 created "2016-06-24" @default.
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- W1998502730 date "2003-12-01" @default.
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- W1998502730 title "The Pariahs of Sound: On the Post-Duchampian Aesthetics of Electro-acoustic Improv" @default.
- W1998502730 doi "https://doi.org/10.1080/0749446032000157008" @default.
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