2013
The specific text spanning pages 564–569 within the 2013 anthology Sound des Jahrhunderts is an essay titled "Musik und Sound im Internet" ("Music and Sound on the Internet").While the chapter primarily charts how digital networking, MP3 distribution, and online spaces decentralized 21st-century music culture, it explicitly roots these digital spaces in the physical, historical avant-garde. The authors use Max Neuhaus as a pivotal historical anchor to contextualize this transition. How the Chapter Intersects with Max Neuhaus Decentralizing the Performance: The text references Neuhaus's landmark piece Public Supply I (1966). Neuhaus combined a radio broadcast station (WBAI) with telephone networks, allowing the public to call in and dynamically manipulate sound live from their homes. The essay frames this as the structural grandfather of modern, online interactive audio environments.The editors analyze how Neuhaus's concept of treating public topology as a raw canvas laid the baseline for how contemporary internet artists conceptualized virtual web space. By taking sound out of physical standard concert frames, Neuhaus anticipated the fluid, decentralized spaces of the early web.The Metaperceptual Transition: The book utilizes Neuhaus's open architectural installations—such as his subterranean Times Square (1977) work—to show the shift from traditional music listening to situational soundscapes.This specific 2013 publication marks the point where German media historians formally unified the history of early mid-century electronic performance art with the evolution of the modern digital landscape.
https://werkstattgeschichte.de/wp-content/uploads/2018/01/WG75_137-141_ESCH_GERAEUSCHE.pdf