Hostname: page-component-5c6d5d7d68-pkt8n Total loading time: 0 Render date: 2024-08-16T01:42:55.205Z Has data issue: false hasContentIssue false

Repurposing the Past: The Phantastron and appropriating history as a DIY approach

Published online by Cambridge University Press:  12 November 2013

Lorin Edwin Parker*
Affiliation:
Electronic Media Division, College-Conservatory of Music, 4200 Mary Emery Hall, University of Cincinnati, Cincinnati, OH 45221-0003, USA E-mail: lorin.parker@uc.edu

Abstract

Historical models may often provide some of the greatest inspiration for the creation of new technologies. A DIY approach appropriating older paradigms in technology is discussed, with special attention paid to how old concepts can become relevant within a modern context. The author's electronic instrument, the Phantastron, is introduced as an example of this DIY approach. The Phantastron's creation is detailed in practice and methods such as repurposing, redesigning, hacking and circuit bending upon a historical design are described. A wider angle is then cast upon the concept of repurposing older technologies, and the works of other artists and DIY makers are considered. The concept that antiquated technology is in the common domain and ready to be utilised in the synthesis of new ideas is discussed. Finally, a generalised DIY approach to integrating historical ideas into new creations is posited.

Type
Articles
Copyright
Copyright © Cambridge University Press 2013 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

AX84. 2013. AX84 Cooperative Tube Guitar Amp Project. http://www.ax84.com.Google Scholar
Bacon, F. 1627. New Atlantis. Reprint, Oxford: Clarendon Press, 1915.Google Scholar
Barbour, E. 2000. Audio Synthesis Via Vacuum Tubes. http://www.cgs.synth.net/tube (accessed on 1 January 2013).Google Scholar
Collins, N. 2009. Handmade Electronic Music: The Art of Hardware Hacking. 2nd edn. New York: Routledge.CrossRefGoogle Scholar
DeMarinis, P. 2004. Firebirds and Tongues of fire artist statement. http://iowareview.uiowa.edu/TIRW/TIRW_Archive/feb06/demarinis_statement.pdf (accessed on 1 January 2013).Google Scholar
Hertz, G., Parikka, J. 2012. Zombie Media: Circuit Bending Media Archaeology into an Art Method. Leonardo Music Journal 45(5): 424430.CrossRefGoogle Scholar
Johnson, C.L. 1956. Analog Computer Techniques. York, PA: Maple Press.Google Scholar
Lewer, S.K. 1948. Electronic Musical Instruments. London: Electronic Engineering.Google Scholar
Make . 2009. Vol. 17.Google Scholar
Meanwell, P. 2011. Balloon & Needle. The Wire 325: 73.Google Scholar
Napper, B. 2000. Frederic Calland Williams (1911–1977). http://www.computer50.org/mark1/williams.html (accessed on 1 January 2013).Google Scholar
Parikka, J. 2012. What is Media Archaeology? Cambridge: Polity Press Kindle edition.Google Scholar
Royal Air Force 1962. A.P. 3302 Standard Technical Training Notes for the Radio Engineering Trade Group Part 3. 2nd edn. Archived at http://www.radarpages.co.uk/theory/theoryindex.htm (accessed 1 May 2013).Google Scholar
Seely, S. 1958. Electron Tube Circuits. 2nd edn. York, PA: Maple Press.Google Scholar
Wilson, D. 2012. Miraculous Agitations: On the Uses of Chaotic, Non-Linear and Emergent Behavior in Acoustic Vibrating Physical Systems. Leonardo Music Journal 22: 3540.CrossRefGoogle Scholar
Wilson, D. 2013. Build Your Own Francis Bacon ‘Sound House’. http://miraculousagitations.blogspot.com (accessed on 1 May 2013).Google Scholar