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Abstract

The thesis is written from the perspective of Dameron Codds, a musicologist from the future who is tasked with analysing the work of the composer Cameron Dodds who went missing in the year 2021. The aim of this thesis is to theorise on and explore my artistic work over my doctoral study. I utilise the idea of fiction as method to explore my practice and the act of making experimental music in the 21st century and especially the idea of what it means to create work for a future audience who do not yet exist. Using disparate methodologies from literature, speculative realism, and psychoanalysis the thesis aims to contextualise my work in recourse to magical and technological ontologies as well as in wider experimental musical discourse. The thesis attempts to show how through future-oriented and speculative thinking the composer can avoid the pitfalls of historical expectation by the fictioning of their practice, and how magical thinking and artificial technologies can be used by the artist as imagination extension technologies in the creation of their work.

Publication Type:	Thesis (Doctoral)
Subjects:	M Music and Books on Music > M Music
Departments:	Doctoral Theses

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