Signal To Noise: sonic reflections on the South African transition period (1984-1998)
| dc.contributor.author | Swinney, Warrick | |
| dc.contributor.supervisor | Taylor, Jane | |
| dc.contributor.supervisor | Moolman, Jacobus | |
| dc.date.accessioned | 2024-12-09T13:08:48Z | |
| dc.date.available | 2024-12-09T13:08:48Z | |
| dc.date.issued | 2023 | |
| dc.description.abstract | Background: This dissertation is set against the backdrop of my involvement with Shifty Studios, a small independent mobile recording studio based in Johannesburg, between 1983 and 1997. Most of this content is drawn from a wide range of reading across subjects generated from anecdotal discussions with involved musicians and friends; some alive, some barely alive and some spectral. The flimsy nature of some of these memories are sources for the creative nonfictional strands that help bind everything together; the aura of the absences contributing, almost metaphysically, to the overall ambience. “Rhizomic assemblage,” a term my supervisors and I bandied about during my MA at the Michaelis School of Fine Art, perhaps best describes my (de)constructive methodologies employed here. Early chapters address this together with the psychological self-searching that involved finding solutions to life-long learning disorders and taking strength from others with similar predicaments. David Byrne, in Chapter One, helps in reconfiguring my disorder into a ‘superpower’, while Osip Mandelstam’s advice to “make a wry face in remembering the past” (109) situates, for me, the human in the humanities. | |
| dc.identifier.uri | https://hdl.handle.net/10566/19738 | |
| dc.language.iso | en | |
| dc.publisher | University of the Western Cape | |
| dc.subject | Sound studies | |
| dc.subject | Shifty Records | |
| dc.subject | Song-writing | |
| dc.subject | Afro-futurism | |
| dc.subject | Cold war | |
| dc.title | Signal To Noise: sonic reflections on the South African transition period (1984-1998) | |
| dc.type | Thesis |