Résumés
Abstract
In the twentieth century, records and record players were employed as the media and medium of art and music. These generative practices sought to extend the possibilities for sound production, at times ending in the destruction of both vinyl and turntable—what I call cracked media. This paper will revisit cracked media in the twenty-first century, inquiring into how this (re)interest in vinyl has translated into art and music. I will look to contemporary musicians and artists to contrast practices that encapsulate nostalgia with those that seek to communicate ecological and environmental concerns.
Keywords:
- cracked media,
- eco-sonic media,
- shellac,
- sound installation,
- vinyl
Résumé
Au xxe siècle, on utilisait les disques et les tourne-disques comme média et médium de l’art et de la musique. Avec ces pratiques génératives, on cherchait à étendre les possibilités de production sonore, aboutissant parfois à la destruction du vinyle et de la platine – ce que je nomme cracked media (des médias craquelés). Cet article reviendra sur les cracked media au xxie siècle, en s’interrogeant sur la manière dont cet intérêt (ravivé) pour le vinyle s’est traduit dans l’art et dans la musique. Je me tournerai vers des musiciens et des artistes contemporains pour opposer les pratiques qui résument la nostalgie à celles qui cherchent à communiquer des préoccupations écologiques et environnementales.
Mots-clés :
- cracked media,
- gomme-laque,
- installation sonore,
- média écolo-sonore,
- vinyle
Parties annexes
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