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.
Max Neuhaus is featured in the book as a key artist who actively wrestled with, and ultimately rejected, the limitations of the fixed recording format in favor of site-specific, live acoustic experiences.