This paper aims to look at post-digital music in relation to its
preceding artistic movements as well as parallel creative and technological
developments. Central to this is Minimalist and Process art that emerged in New York
in the mid to late 60s. Key to this discourse is the concept of anti-illusionistic
interplay with the medium. This thesis will also draw on other forms of media to
in order to broaden the discourse into parallel proclivities in other areas of the arts.
Post-digital music also offers a discourse on our relationship with technology; as such it should also be fruitful to look at it in terms of activities that seem to be related, such as circuit bending or noise turntablism. These activities, among other things, seem to seek to distil uniqueness from homogeneity, while at the same time constituting a record of our ongoing familiarization with technology.