Notes on a section of Adorno’s long essay on “Radio Physiognomics” from his time at Princeton.
When the digital audio CD format was launched in 1982, it introduced a new paradigm for sound reproduction to the consumer market. Instead of tracing recorded sound with a quasi-indexical groove like its phonographic forebear, the microscopic pits and lands on the CD’s plastic surface represent sound as symbols. As the interpretation of symbols is largely conventional, precisely how these pits and lands corresponded to audio was determined by a small group of engineers who had worked to define the CD standard in the years leading up to its release. In this short talk, I discussed test CDs: discs that were used to put the audio CD format on trial both before and after its standardization by its creators, Philips and Sony.
In this talk, I focus on the second movement of Nicolas Collins Broken Light, a piece for modified Discman and string quartet composed in 1991 and revised in 1992. Sound art historian Caleb Kelly has already overviewed Collins’s musical experiments with CD media in his 2009 survey of sound art and composition that featured “cracked” technical media: both destroyed vinyl records and damaged compact discs…
The potential for the systematic analysis of YouTube comments has been recognised by many researchers in fields including music information retrieval (MIR), sociology, and musical ethnography (Yadati et al. 2014; Thelwall 2018; Born and Haworth 2017). Notably, since 2008 YouTube has automatically detects timecodes in user-generated comments, converting them to “deep” links that skip playback directly to the moment in the video cited (Vliegendhart et al. 2015). Presenting the history, use, and future prospects of these time-coded comments (TCCs) on YouTube, I assess their value as a novel primary source for digital musicologists.
The Voyager Company realised the creative and commercial potential of mixed-mode CD-ROMs as the platform par excellence for interactive multimedia. The company’s CDLink platform enabled and inspired commercial ventures and amateur productions alike, such as Sony Music’s short lived ConnecteD experiment, a small but dedicated community of fan-sites that published time-synced lyric pages alongside hyperlinked commentaries for popular records, and even experimental sonic net.art in Mark Kolmar’s Chaotic Entertainment (1996). Owing to the mostly obsolete hardware and software dependencies of the CDLink platform and the challenges posted by the fading born-digital traces of the mid-1990s Web, CDLink-dependent artifacts create difficulties for preservation and access. I summarise the above-mentioned developments that culminated in CDLink and describe the challenges of preserving Kolmar’s artwork and making it available for future audiences, as well as those of the larger so-called “extended CD” ecosystem, which flourished during this decade.