What is it about?
The paper presents an argument for continuing to include experimental practices in creative arts education. It draws on the maker and DIY movements in the early 21st century as evidence of a reaction against increased abstraction from control over music making practices. This trend is identified as inherent in 'digital' culture and was reacted against as 'post-digital' in 'glitch' culture in the 1990s. The tradition of experimentalism can be traced back through avant-garde movements in arts practices, especially prevalent in the 1970s.
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Why is it important?
The continued innovation in culture relies on encouraging experimental practices and a tolerance for the inevitable failures and lower-quality early prototypes that are required to enable new and exciting developments in the arts.
Perspectives
Music technology studies, and creative technology studies more broadly, should be encouraged - the paper suggests - to embrace exploration of the materiality of electronic and other media as a way of reconnecting with the potential and preciousness of resources in a resource-constrained world. Making creative and efficient uses of these technologies for artistic expression is not only a path toward sustainable innovation but pedagogically engages students with the foundational building blocks of sound making and makes them less reliant on commodified tools and techniques.
algorithmicmusic@gmail.com Andrew R. Brown
Griffith University
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This page is a summary of: Fostering a Post-Digital Avant-Garde: Research-led teaching of music technology, Organised Sound, June 2016, Cambridge University Press,
DOI: 10.1017/s1355771816000054.
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