Acland, C. R. (ed.) (2007). Residual Media<\/em>, Minneapolis, London: University of Minnesota Press.<\/p>\n Benjamin, W. (1999). Illuminations<\/em>, ed. Hannah Arendt, tr. Harry Zorn, London: Pimlico.<\/p>\n 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<\/em>. New York: Crown.<\/p>\n Bluestein, G. (1987). ‘Moses Asch, Documentor’, American Music<\/em>, Vol. 5, No. 3: 291-304.<\/p>\n Bolter, J.D. & Grusin, R. (2000). Remediation: Understanding New Media<\/em>. Cambridge, Mass.\/London, England: the MIT Press.<\/p>\n Boym, S. (2001). The Future of Nostalgia<\/em>, New York: Basic Books.<\/p>\n Carlin, R. (2008). Worlds of Sound: The Story of Smithsonian Folkways<\/em>, New York: Smithsonian\/Collins.<\/p>\n Chanan, M. (1995) Repeated Takes: A Short History of Recording and Its Effects on Music<\/em>, London: Verso.<\/p>\n Concannon, K. (2013). \u2018Cut and Paste: Collage and the Art of Sound\u2019, in D. Lander and M. Lexier (eds), Sound by Artists<\/em>, Mississauga: Blackwood Gallery: 161-82.<\/p>\n Connor, S. (2011). Paraphernalia: The Curious LIves of Magical Things<\/em>. London: Profile.<\/p>\n Cooper, D. (2005). The Perfect Portable Gramophone<\/em>. London: Cavendish.<\/p>\n Creeber, G. & Royston, M. (eds) (2009). Digital cultures: Understanding New Media<\/em>. Maidenhead: Open UP.<\/p>\n Cutler, C. (2006). \u2018Plunderphonia\u2019, in C. Cox & D. Warner (eds), Audio Culture: Readings in Modern Music<\/em>, New York: Continuum, 2006: 136-56.<\/p>\n Dibbell, J. (2004). \u2018Unpacking Our Hard Drives: Discophilia in the Age of Digital Reproduction\u2019, in E. Weisbard (ed.), This is Pop: In Search of the Elusive at Experience Music Project<\/em>, Cambridge, MA, and London: Harvard University Press: 279-288.<\/p>\n Eisenberg, E. (1988). The Recording Angel: Music, Records and Culture from Aristotle to Zappa<\/em>, London: Picador.<\/p>\n Elborough, T. (2008). The Long-Player Goodbye: The Album from Vinyl to iPod and Back Again<\/em>. London: Hodder& Stoughton.<\/p>\n Ernst, W. (2013) Digital Memory and the Archive<\/em>, Minneapolis: Minnesota University Press.<\/p>\n Gillespie, T., Boczkowski, P.J., Foot, K.A. (eds) (2014). Media Technologies: Essays on Communication, Materiality, and Society<\/em>. Cambridge, MA: MIT Press.<\/p>\n Gronow, P. & Saunio, I. (1998). An International History of the Recording Industry<\/em>, trans. C. Moseley, London and New York: Cassell.<\/p>\n Gumbrecht, H.U. and Pfeiffer, K.L. (eds) (1994). Materialities of Communication<\/em>. Stanford: Stanford University Press.<\/p>\n Hadar, D. (2007). Mingering Mike: The Amazing Career of an Imaginary Soul Superstar<\/em>. New York: Princeton Architectural Press.<\/p>\n Huhtamo, E. and Parikka, J. (2011). Media Archaeology: Approaches, Applications, and Implications<\/em>, Berkeley: University of California Press.<\/p>\n Huyssen, A. (2003). Present Pasts: Urban Palimpsests and the Politics of Memory<\/em>, Stanford: Stanford University Press.<\/p>\n Jenkins, H. (2008). Convergence Culture: Where Old and New Media Collide<\/em>. New York\/London: New York UP.<\/p>\n Jones, A. (2004). Plunderphonics, \u2019Pataphysics & Pop Mechanics<\/em>. Wembley: SAF.<\/p>\n Katz, M. (2004). Capturing Sound: How Technology Has Changed Music<\/em>. Berkeley: University of California Press.<\/p>\n Keightley, E. and Pickering, M. (2006). ‘For the Record: Popular Music and Photography as Technologies of Memory’, European Journal of Cultural Studies<\/em> 9\/2: 149-65.<\/p>\n Kelly, C. (2009). Cracked Media: The Sound of Malfunction<\/em>. MIT Press.<\/p>\n Kittler, F.A. (1999). Gramophone, Film, Typewriter<\/em>. Translated by G. Winthrop-Young and M. Wutz. Stanford: Stanford University Press.<\/p>\n Milano, B. (2003). Vinyl Junkies: Adventures in Record Collecting<\/em>. New York: St. Martin’s Press.<\/p>\n Milner, G. (2009). Perfecting Sound Forever: The Story of Recorded Music<\/em>. London: Granta.<\/p>\n Morris-Suzuki, T. (2005). The Past Within Us: Media, Memory, History<\/em>, London, New York: Verso.<\/p>\n Neville, B. & Villeneuve, J. (eds) (2002). Waste-Site Stories: The Recycling of Memory<\/em>, Albany : State University Of New York Press.<\/p>\n Pickering, M. Keightley, E. (2007). ‘Echoes and Reverberations: Photography and Phonography as Historical Forms’, Media History <\/em>13\/2: 273-88.<\/p>\n Pinch, T. and Trocco, F. (2004). Analog Days: The Invention and Impact of the Moog Synthesizer<\/em>. Harvard University Press<\/p>\n Rabinovitz, L. & Geil, A. (eds) (2004). Memory Bytes: History, Technology, and Digital Culture<\/em>, Durham\/London: Duke UP.<\/p>\n Reynolds, S. (2004). \u2018Lost in Music: Obsessive Record Collecting\u2019, in E. Weisbard (ed.), This is Pop: In Search of the Elusive at Experience Music Project<\/em>. Cambridge, MA: Harvard University Press: 289-307.<\/p>\n Reynolds, S. (2006). \u2018Society of the Spectral\u2019, The Wire <\/em>273 (November): 26-33.<\/p>\n Reynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past<\/em>. London: Faber & Faber.<\/p>\n Samuel, R. (1996). Theatres of Memory Volume 1: Past and Present in Contemporary Culture<\/em>. London: Verso.<\/p>\n Schoonmaker, T. (2010). The Record: Contemporary Art and Vinyl<\/em>. Durham: Duke University Press.<\/p>\n Sterne, J. (2003). The Audible Past: Cultural Origins of Sound Reproduction<\/em>. Durham: Duke University Press.<\/p>\n Sterne, J. (2012). MP3: The Meaning of a Format<\/em>. Durham: Duke University Press.<\/p>\n Straw, W. (2000). \u2018Exhausted Commodities: The Material Culture of Music\u2019, Canadian Journal of Communication<\/em>, 25:1, <http:\/\/cjc-online.ca\/index.php\/journal\/issue\/view\/91\/showToc><\/p>\n 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<\/em>. Durham: Duke UNiversity Press.<\/p>\n Tompkins, D. (2011). How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop<\/em>. Chicago: Stop Smiling.<\/p>\n Turkle, S. (ed.) (2007). Evocative Objects: Things We Think With<\/em>. Cambridge: MIT Press.<\/p>\n Zielinski, S. (2008). Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means<\/em>. Cambridge: MIT Press.<\/p>\n Compilations<\/span> Historische Aufnahmen 1 \/ Historical Recordings 1<\/em>. LP. Gagarin Records, GR2013 (2011).<\/p>\n …I Listen to the Wind that Obliterates My Traces: Music in Vernacular Photographs 1880-1955.<\/em> CD\/book. Compiled by S. Roden. Dust-to-Digital, DTD-20 (2011).<\/p>\n R\u0113 Records Quarterly<\/em>. LP\/magazine\/CD. Compiled\/edited by C. Cutler. R\u0113 Records (1985-1997).<\/p>\n The 78 Project<\/em>. LP. The 78 Project, 78P-001 (2014).<\/p>\n The Secret Museum of Mankind<\/em>. 9 vols, compiled by P. Conte. CD. Yazoo (1995-1998).<\/p>\n The Stuff that Dreams Are Made Of<\/em>. Compiled by R. Nevins. CD. Yazoo, 2202 (2006).<\/p>\n Victrola Favorites<\/em>. Compiled by R. Millis and J. Taylor. CD\/book. Dust-to-Digital, DTD-11 (2008).<\/p>\n Desperate Man Blues<\/em>. Dir. E. Gillan (2003).<\/p>\n Last Shop Standing<\/em>. Dir. P. Piper (2012).<\/p>\n Modulations: Cinema for the Ear<\/em>. Dir. I. Lee (1998).<\/p>\n Moog<\/em>. Dir. H. Fjellestad (2004).<\/p>\n Sound it Out<\/em>. Dir. J. Finlay (2011).<\/p>\n Vinylmania: When Life Runs at 33 Revolutions Per Minute<\/em>. Dir. P. Campana (2012).<\/p>\n <\/p>\n Dead Media<\/span> Early Sound Recordings<\/span> Ethnographic Sound Recordings<\/span> Cassette Culture\/Home Recording<\/span> Reissues and Archives<\/span> Practitioners<\/span> Fanzines and ephemera<\/span> Collectors<\/span> Bibliography Acland, C. R. (ed.) (2007). Residual Media, Minneapolis, London: University of Minnesota Press. Benjamin, W. (1999). Illuminations, ed. Hannah … Discography<\/h3>\n
\nBlack Mirror: Reflections in Global Musics (1918-1955)<\/em>. Compiled by I. Nagoski. CD. Dust-to-Digital, DT-10 (2007).<\/p>\nFilmography<\/h3>\n
Websites<\/h3>\n
\nThe Dead Media Project: http:\/\/www.deadmedia.org\/<\/a>
\nMedia & Materiality Project http:\/\/www.wordsinspace.net\/media-materiality\/2012-spring\/<\/a><\/p>\n
\nAntique Phonograph Radio Program http:\/\/wfmu.org\/playlists\/AP<\/a>
\nFirst Sounds http:\/\/www.firstsounds.org\/<\/a><\/p>\n
\nReel to Real http:\/\/pittrivers-sound.blogspot.co.uk\/<\/a><\/p>\n
\nGreat Bear http:\/\/www.thegreatbear.net\/blog\/<\/a>
\nThe Living Archive of Underground Music http:\/\/livingarchive.doncampau.com\/<\/a>
\nTaped Rugs http:\/\/www.tapedrugs.com\/<\/a>
\nLo Finest http:\/\/aural-innovations.com\/radio\/lofinest.html<\/a><\/p>\n
\nCompanion Records http:\/\/www.companionrecords.com\/pages\/home.html<\/a>
\nThe Vinyl Factory http:\/\/www.thevinylfactory.com\/<\/a>
\nOpen Music Archive http:\/\/www.openmusicarchive.org\/<\/a>
\nBristol\u00a0Archive Records\u00a0http:\/\/www.bristolarchiverecords.com\/<\/a>
\nUbuWeb http:\/\/www.ubuweb.com\/<\/a>
\nReel to Real: Sound at the Pitt Rivers Museum http:\/\/web.prm.ox.ac.uk\/reel2real\/<\/a>
\nBritish Library Sound Archive http:\/\/www.bl.uk\/soundarchive<\/a><\/p>\n
\nChristian Marclay
\nMusic for Objects http:\/\/travisstearns.blogspot.co.uk\/2013\/11\/cfcf-music-for-objects-process.html<\/a>
\nLes Structures Sonores http:\/\/www.baschet.org\/<\/a>
\nIan Helliwell http:\/\/ianhelliwell.co.uk\/<\/a><\/p>\n
\nManchester District Music Archive <\/i>http:\/\/www.mdmarchive.co.uk\/<\/i><\/a><\/i>
\nLa Fanzinoth\u00e8que http:\/\/www.fanzino.org\/<\/a>
\nIncite! http:\/\/www.lehman.edu\/academics\/arts-humanities\/alborn\/incite.php<\/a>
\nNorth-American and Canadian rave archive http:\/\/ravearchive.com\/about-us<\/a><\/p>\n
\nKevin Pearce http:\/\/yrheartout.blogspot.co.uk\/<\/a>
\nThe Wonderful and the Obscure http:\/\/www.bobpurse.blogspot.co.uk\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"
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