2014
In his 2014 book "Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording," David Grubbs examines how the advent of widespread sound recording profoundly shaped experimental music in the 1960s, creating a tension between ephemeral live performance and the archival potential of recorded media.
David Grubbs uses Max Neuhaus as a primary example of an artist whose work intentionally resists the "fixity" of sound recordings. Grubbs argues that for Neuhaus, a recording is not just an inferior copy, but a fundamental betrayal of the artwork's essence.