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(More customer reviews)A fascinating account of practices of cracked media, giving an astounding number of examples that document this movement and trace its genealogy back in time through various avant-garde artistic practices. Kelly convincingly links a lot of disparate practices under this term; my only question would be whether in fact there might be a major omission in the form of musique concrete which would seem to fit in the category. The book is perhaps more of interest for its accounts of artistic /musical practice rather than its forays into the theoretical realm when it tries to think through some of the issues arising from them, as well as about the nature of music vs sound art, sound vs noise, but this is not the major focus of the book anyway really so little matter. Anyone who has ever thought that the Madonna CD playing in the supermarket sounded much better when it started skipping, or who loves the sound of the run out groove at the end of a 33rpm or the satisfying kthunk hsss hsss as the stylus drops on to a platter of vinyl has to read this.
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How the deliberate cracking and breaking of playback media has producedexperimental music and sound by artists and musicians ranging from Nam June Paik andChristian Marclay to Yasunao Tone and Oval.
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