This project extends Geoffrey Sirc’s use of the box as a compositional space in his essay “Box Logic” to include the looped and layered sounds in
- Boss’s RC-30 Dual Loop Station Guitar Pedal, or stomp box;
- Ashanti’s Beatjazz, a new digital genre played through the digital boxes he developed as improvisational instruments; and
- Björk’s Biophilia, her new app-album arranged in the space of the iPad as a compositional box.
In each, fragments of sound are collected, looped, and layered to produce feedback and generate the kinds of buzz, feelings, and affects Sirc sees in Duchamp and is after in his writing assignments. While these sound technologies aren’t as readily available and used as social networking, blogging, presentation, and video technologies, their logics can provide insights into future compositional methods for working with digital spaces and objects.
These examples suggest implications for materialist rhetorics and the role of audience in rhetorical situations. Composers are writing to:
- the objects and machines and as a primary audience,
- the entire system or assemblage as a secondary audience, with
- the human affects created through the system’s feedback as a tertiary audience.
Audience, in short, becomes the rhetorical situation writ-large.