Abstract
AbstractThis paper proposes a case study of the exhibition “Sonic Process: A New Geography of Sounds,” (2002–2003), comprised of installations designed by electronic musicians, most paired with visual artists for this occasion. The main question this case study addresses is the following: what role does the catalog play in the legacy left by this exhibition of sound art? The works themselves are conspicuous in their absence after the time of the exhibit has passed. The essayists in the catalog engage in a fascinating debate on the “death of the author” trope, often discussed in the context of sample‐based musics. In this case study, I look at how this discussion influences the way these works and artists themselves are integrated (or not) into the contemporary art world. I see attributing or denying author status as a form of boundary work, which influences both the place of electronic musicians within this world and the identity of the museum itself.
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