Abstract
Linking the concept of high-fidelity reproduction to histories of representation, we suggest that the former contradicts widely held beliefs about the nature of representation throughout the 20th century. Through analyses of advertisements for certain sound reproduction technologies at different points in history, however, we propose that a shift is taking place that complicates the high-fidelity ideal. This ideal is complicated further still in the musical genre known as glitch, but the full extent of this problematization can only be apprehended through an analysis of the material ontology of the technology used to create this music. Digital technology thus only appears to surpass all previous standards of high-fidelity reproduction because it displaces a human perceptive faculty into the technological apparatus itself.
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