Then I went to New York for graduate school, and the Nineties were all about Morton Feldman and Pierre Schaeffer and other avant-garde opportunities for the display of marathon patience. With my new cohort of friends I sought out performances that might involve a pianist slamming down his instrument's lid or shouting "Ha!" after a long silence, presumably according to instructions given on the sheet music. We were inspired by Theodor Adorno's idea that if music is to be considered art, and is to be a veracious witness to its era, it must ipso facto be difficult. We ordered CDs from labels in Maastricht and Berlin that promised us "clicks and cuts," "sonic rhizomes," and something they called "glitches," which were for a while hailed as the equivalent to turntable scratches, but unlike scratching vinyl, which made early hip-hop continuous with the deconstructive aesthetics of the cut-up, the manipulation of a damaged compact disc sounds like nothing but an error, like a new technology that has gotten stuck.