The DJ

doi:10.1017/9781009554732.024

Chapter 22 - The DJ

Cut-Up Machines, Automation, Sound

from Part IV - Modes of Creativity

Published online by Cambridge University Press: aN Invalid Date NaN

Benjamin J. Heal

Edited by

Oliver Harris ,

Davis Schneiderman and

Alex Wermer-Colan

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Oliver Harris: Affiliation:
Keele University
Davis Schneiderman: Affiliation:
Lake Forest College
Alex Wermer-Colan: Affiliation:
Temple University

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Summary

This chapter examines William Burroughs’ engagement with tape recording as an integral aspect of his cut-up project, situating his sonic explorations within the broader context of twentieth-century sound experimentation and its technological evolution. Tracing Burroughs’ early interest in voice and control, the chapter highlights the pivotal influence of Brion Gysin and the advent of portable tape recorders on the development of the cut-up method beyond textual manipulation. It analyzes Burroughs’ experimental recordings, distinguishing them from his commercial releases, and considers their potential psychological and political objectives, particularly in relation to sonic manipulation. The chapter also draws parallels between Burroughs’ tape techniques and contemporary DJ practices like sampling and remixing, while exploring his engagement with noise, prosody, and the disruptive potential of sound. Ultimately, it argues that Burroughs’ innovative use of tape extended the possibilities of the cut-up as a multisensory and potentially weaponized medium, prefiguring later developments in sound art and media manipulation.

Keywords

William S. Burroughs cut-up tape recording sound experimentation automation sound manipulation

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Type: Chapter
Information: William Burroughs in Context , pp. 287 - 300

DOI: https://doi.org/10.1017/9781009554732.024 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2026

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References

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