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Volume 9, Issue 1-2
  • ISSN: 1751-4193
  • E-ISSN: 1751-4207



This article analyses the discrepancy between the medium-specificity of Brian Eno’s 1985 compact disc (CD) and the intermediality of its precursor, Eno’s 1984 video artwork of the same name. I historicize these seemingly contrasting aesthetic strategies medium alongside an epistemological shift in our conception of the musical recording during the rise of the CD in the early-to-mid-1980s. I argue the counter-intuitive point that the home video version of represents the fullest realization of Eno’s medium-specific inquiry into the emergent CD technology.


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