1977
In his 1977 article "Towards an Aesthetic of Experimental Music" published in The Musical Quarterly, Christopher Ballantine attempts to establish a philosophical and social framework for music that operates outside traditional classical boundaries.
Ballantine utilizes the work of Max Neuhaus to illustrate the radical shift in the relationship between the artist and the audience.
He cites Neuhaus’s projects, specifically Telephone Access (part of the Public Supply series), as prime examples of co-creation.
The article argues that by using telephone networks and radio to allow the public to contribute sound, Neuhaus subverts the traditional "top-down" hierarchy of the composer and performer.
Neuhaus’s work is framed as an "experimental" practice that prioritises the process and interaction over a fixed, finished musical object.