The German experimental group known as Oval first explored the possibilities of failure with the release of Oktober 91 (1991). But more specifically, it is from the вЂfailureвЂ™ of digital technology that this new work has emerged: glitches, bugs, application errors, system crashes, clipping, aliasing, distortion, quantization noiseвЂ¦вЂќ (Cascone)

вЂњвЂ¦ aesthetic was developed in part as a result of the immersive experience of working in environments suffused with digital technology: computer fans whirring, laser printers churning out documents, the sonification of user interfaces, and the muffled noise of hard drives. He proposes that Marshall McLuhanвЂ™s well-known phrase, вЂњThe medium is the messageвЂќ is no longer valid and that вЂњвЂ¦ specific tools themselves have become the messageвЂќ.

Kim Cascone identifies these trends as вЂњPost-digitalвЂќ. These changes were revolutionary at the time, but as these new technologies became commonplace and banal, composers began to look to the error as a new source of the material. With the digital age came unprecedented levels of accuracy and audio fidelity not possible in analog systems. (Klotz) And thereвЂ™s an old saying in jazz: вЂњIf you play a mistake, play it again.вЂќ In Kelsey KlotzвЂ™s essay, The Art of the Mistake, she suggests that вЂњwrong notes in jazz are often considered to be opportunities for improvisatory exploration a note is only wrong if the performer does not know what to do with it.вЂќ She quotes Art Tatum as saying, вЂњThereвЂ™s no such thing as a wrong noteвЂќ and Bill Evans responding, вЂњThere are no wrong notes, only wrong resolutionsвЂќ. Mistakes have long been embraced, especially in jazz.

I suspect that the search for and the acceptance of the unexpected in a musical context has been around as long as there have been musicians.

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