https://orcid.org/0000-0002-5788-2089
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Notes
1. For potential infrastructural precedents see for example, Steve Waksman’s discussion of the electric guitar in Instruments of Desire, Jonathan Sterne’s study of digital audio compression in MP3: Meaning of a Format, the discussion of Moog and Buchla synthesisers in Trevor Pinch and Frank Trocco’s Analog Days, or, perhaps more closely, the study of the oud in Eliot Bates’ article “The Social Life of Instruments.” (Waksman Citation1999; Sterne Citation2012; Pinch and Trocco Citation2004; Bates Citation2012). I would also like to thank Aphid Stern for part of the title of this review, as he tweeted “Postscript on the Societies of Voltage Control” at me on 3 September 2020: https://twitter.com/aphid23/status/1301682482417287168.
Additional information
Notes on contributors
Ezra J. Teboul
Ezra J. Teboul is an artist and researcher focusing on the interaction of labour and materials in electric and electronic systems. He holds a Ph.D. in electronic arts from Rensselaer Polytechnic Institute, an A.M. in Digital Musics from Dartmouth College, and a B.A. from Hampshire College. He is a co-convener for the CHSTM study group on Sound and Technology, and the co-editor for Modular Synthesis: Patching Machines and People (Routledge, 2023).