![]() But more specifically, it is from the ‘failure’ of digital technology that this new work has emerged: glitches, bugs, application errors, system crashes, clipping, aliasing, distortion, quantization noise…” (Cascone) “… aesthetic was developed in part as a result of the immersive experience of working in environments suffused with digital technology: computer fans whirring, laser printers churning out documents, the sonification of user interfaces, and the muffled noise of hard drives. He proposes that Marshall McLuhan’s well-known phrase, “The medium is the message” is no longer valid and that “… specific tools themselves have become the message”. ![]() Kim Cascone identifies these trends as “Post-digital”. These changes were revolutionary at the time, but as these new technologies became commonplace and banal, composers began to look to the error as a new source of the material. With the digital age came unprecedented levels of accuracy and audio fidelity not possible in analog systems. (Klotz) And there’s an old saying in jazz: “If you play a mistake, play it again.” In Kelsey Klotz’s essay, The Art of the Mistake, she suggests that “wrong notes in jazz are often considered to be opportunities for improvisatory exploration a note is only wrong if the performer does not know what to do with it.” She quotes Art Tatum as saying, “There’s no such thing as a wrong note” and Bill Evans responding, “There are no wrong notes, only wrong resolutions”. Mistakes have long been embraced, especially in jazz. I suspect that the search for and the acceptance of the unexpected in a musical context has been around as long as there have been musicians.
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