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Acland, C. R. (ed.) (2007). Residual Media, Minneapolis, London: University of Minnesota Press.

Benjamin, W. (1999). Illuminations, ed. Hannah Arendt, tr. Harry Zorn, London: Pimlico.

Bennett, R. and Kun, J. (2008). And You Shall Know Us by the Trail of Our Vinyl: The Jewish Past as Told by the Records We Have Loved and Lost. New York: Crown.

Bluestein, G. (1987). ‘Moses Asch, Documentor’, American Music, Vol. 5, No. 3: 291-304.

Bolter, J.D. & Grusin, R. (2000). Remediation: Understanding New Media. Cambridge, Mass./London, England: the MIT Press.

Boym, S. (2001). The Future of Nostalgia, New York: Basic Books.

Carlin, R. (2008). Worlds of Sound: The Story of Smithsonian Folkways, New York: Smithsonian/Collins.

Chanan, M. (1995) Repeated Takes: A Short History of Recording and Its Effects on Music, London: Verso.

Concannon, K. (2013). ‘Cut and Paste: Collage and the Art of Sound’, in D. Lander and M. Lexier (eds), Sound by Artists, Mississauga: Blackwood Gallery: 161-82.

Connor, S. (2011). Paraphernalia: The Curious LIves of Magical Things. London: Profile.

Cooper, D. (2005). The Perfect Portable Gramophone. London: Cavendish.

Creeber, G. & Royston, M. (eds) (2009). Digital cultures: Understanding New Media. Maidenhead: Open UP.

Cutler, C. (2006). ‘Plunderphonia’, in C. Cox & D. Warner (eds), Audio Culture: Readings in Modern Music, New York: Continuum, 2006: 136-56.

Dibbell, J. (2004). ‘Unpacking Our Hard Drives: Discophilia in the Age of Digital Reproduction’, in E. Weisbard (ed.), This is Pop: In Search of the Elusive at Experience Music Project, Cambridge, MA, and London: Harvard University Press: 279-288.

Eisenberg, E. (1988). The Recording Angel: Music, Records and Culture from Aristotle to Zappa, London: Picador.

Elborough, T. (2008). The Long-Player Goodbye: The Album from Vinyl to iPod and Back Again. London: Hodder& Stoughton.

Ernst, W. (2013) Digital Memory and the Archive, Minneapolis: Minnesota University Press.

Gillespie, T., Boczkowski, P.J., Foot, K.A. (eds) (2014). Media Technologies: Essays on Communication, Materiality, and Society. Cambridge, MA: MIT Press.

Gronow, P. & Saunio, I. (1998). An International History of the Recording Industry, trans. C. Moseley, London and New York: Cassell.

Gumbrecht, H.U. and Pfeiffer, K.L. (eds) (1994). Materialities of Communication. Stanford: Stanford University Press.

Hadar, D. (2007). Mingering Mike: The Amazing Career of an Imaginary Soul Superstar. New York: Princeton Architectural Press.

Huhtamo, E. and Parikka, J. (2011). Media Archaeology: Approaches, Applications, and Implications, Berkeley: University of California Press.

Huyssen, A. (2003). Present Pasts: Urban Palimpsests and the Politics of Memory, Stanford: Stanford University Press.

Jenkins, H. (2008). Convergence Culture: Where Old and New Media Collide. New York/London: New York UP.

Jones, A. (2004). Plunderphonics, ’Pataphysics & Pop Mechanics. Wembley: SAF.

Katz, M. (2004). Capturing Sound: How Technology Has Changed Music. Berkeley: University of California Press.

Keightley, E. and Pickering, M. (2006). ‘For the Record: Popular Music and Photography as Technologies of Memory’, European Journal of Cultural Studies 9/2: 149-65.

Kelly, C. (2009). Cracked Media: The Sound of Malfunction. MIT Press.

Kittler, F.A. (1999). Gramophone, Film, Typewriter. Translated by G. Winthrop-Young and M. Wutz. Stanford: Stanford University Press.

Milano, B. (2003). Vinyl Junkies: Adventures in Record Collecting. New York: St. Martin’s Press.

Milner, G. (2009). Perfecting Sound Forever: The Story of Recorded Music. London: Granta.

Morris-Suzuki, T. (2005). The Past Within Us: Media, Memory, History, London, New York: Verso.

Neville, B. & Villeneuve, J. (eds) (2002). Waste-Site Stories: The Recycling of Memory, Albany : State University Of New York Press.

Pickering, M. Keightley, E. (2007). ‘Echoes and Reverberations: Photography and Phonography as Historical Forms’, Media History 13/2: 273-88.

Pinch, T. and Trocco, F. (2004). Analog Days: The Invention and Impact of the Moog Synthesizer. Harvard University Press

Rabinovitz, L. & Geil, A. (eds) (2004). Memory Bytes: History, Technology, and Digital Culture, Durham/London: Duke UP.

Reynolds, S. (2004). ‘Lost in Music: Obsessive Record Collecting’, in E. Weisbard (ed.), This is Pop: In Search of the Elusive at Experience Music Project. Cambridge, MA: Harvard University Press: 289-307.

Reynolds, S. (2006). ‘Society of the Spectral’, The Wire 273 (November): 26-33.

Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past. London: Faber & Faber.

Samuel, R. (1996). Theatres of Memory Volume 1: Past and Present in Contemporary Culture. London: Verso.

Schoonmaker, T. (2010). The Record: Contemporary Art and Vinyl. Durham: Duke University Press.

Sterne, J. (2003). The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press.

Sterne, J. (2012). MP3: The Meaning of a Format. Durham: Duke University Press.

Straw, W. (2000). ‘Exhausted Commodities: The Material Culture of Music’, Canadian Journal of Communication, 25:1, <>

Taylor, T.D., Katz, M. and Grajeda, T. (eds) (2012). Music, Sound, and Technology in America: A Documetary History of Early Phonograph, Cinema, and Radio. Durham: Duke UNiversity Press.

Tompkins, D. (2011). How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop. Chicago: Stop Smiling.

Turkle, S. (ed.) (2007). Evocative Objects: Things We Think With. Cambridge: MIT Press.

Zielinski, S. (2008). Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. Cambridge: MIT Press.


Black Mirror: Reflections in Global Musics (1918-1955). Compiled by I. Nagoski. CD. Dust-to-Digital, DT-10 (2007).

Historische Aufnahmen 1 / Historical Recordings 1. LP. Gagarin Records, GR2013 (2011).

…I Listen to the Wind that Obliterates My Traces: Music in Vernacular Photographs 1880-1955. CD/book. Compiled by S. Roden. Dust-to-Digital, DTD-20 (2011).

Rē Records Quarterly. LP/magazine/CD. Compiled/edited by C. Cutler. Rē Records (1985-1997).

The 78 Project. LP. The 78 Project, 78P-001 (2014).

The Secret Museum of Mankind. 9 vols, compiled by P. Conte. CD. Yazoo (1995-1998).

The Stuff that Dreams Are Made Of. Compiled by R. Nevins. CD. Yazoo, 2202 (2006).

Victrola Favorites. Compiled by R. Millis and J. Taylor. CD/book. Dust-to-Digital, DTD-11 (2008).


Desperate Man Blues. Dir. E. Gillan (2003).

Last Shop Standing. Dir. P. Piper (2012).

Modulations: Cinema for the Ear. Dir. I. Lee (1998).

Moog. Dir. H. Fjellestad (2004).

Sound it Out. Dir. J. Finlay (2011).

Vinylmania: When Life Runs at 33 Revolutions Per Minute. Dir. P. Campana (2012).



Dead Media
The Dead Media Project:
Media & Materiality Project

Early Sound Recordings
Antique Phonograph Radio Program
First Sounds

Ethnographic Sound Recordings
Reel to Real

Cassette Culture/Home Recording
Great Bear
The Living Archive of Underground Music
Taped Rugs
Lo Finest

Reissues and Archives
Companion Records
The Vinyl Factory
Open Music Archive
Bristol Archive Records
Reel to Real: Sound at the Pitt Rivers Museum
British Library Sound Archive

Christian Marclay
Music for Objects
Les Structures Sonores
Ian Helliwell

Fanzines and ephemera
Manchester District Music Archive
La Fanzinothèque
North-American and Canadian rave archive

Kevin Pearce
The Wonderful and the Obscure


  1. debi says:

    Can I also point you to the Great Bear Analogue & Digital Media tape blog I write for – lots of things which are of relevance to your very interesting research project !

    • User Avatar Richard Elliott says:

      Great, thanks for the link, which I’ll add to the list of resources still to post up here.

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