The dissertation deals with the problems related to the issue of sound and its place in contemporary culture, as well as the changes in creative strategy in the past forty years which were analysed in the context of cultural changes in general. The process of acquiring, collecting and transforming the source material which leads to creative activity emerging from the destruction of the original cultural text, plays an essential role and the
cultural interfaces used in the described process are presented as tools vital to creative contemporary work.
The first two chapters (Waste culture and Cultural interfaces) show the basic differences between analogue and digital technologies and they describe in general terms the roles played by waste and interfaces in contemporary culture. The issues related to electronic simulation are described and in my argumentation I used terms such as nostalgia and retromania, which are phenomena that appear in the culture of creativity which focuses on
the processing of elements from the past. Chapter three (Music in the 20th and 21st century in the context of the dynamics of the changes in interfaces) shows the role played by the electronic methods in processing
sounds in culture from the end of the 19th century to the present, and also the history of how electronic interfaces evolved over decades and led to the remarkable rebirth of tribal and shamanic behaviour in Western culture. Chapter four (Plunderphonics in the epoch of electronic simulation) deals with plunderphonics which is a form of artistic activity based on processing ready material taken from various sources, usually from the distant past. The subject is presented as having taken place over decades, from analogue methods to advanced digital processes. Chapter five (Sampling as creative destruction) presents how the concept of sound waste
has moved within culture. It also describes processes hidden in tracks which were created with the help of digital tools (mainly sampling). These processeses not only use fragments of ready cultural texts but also lead to a complete disconnect to the original context of the transformed material via complex digital operations.
Sound plays an extraordinarily important role in contemporary culture and is present on many levels in life. Over the decades, the methods of transforming sound creatively have gone through a series of changes, which advanced and continue to advance along with new phases in the techno-cultural evolution of humankind. The development of interfaces has a direct influence on how the audio-surroundings of humans sound, and in the current technological stage we mostly explore the area which is based on the creative transformation of ready source material. The basis of such action requires the destruction of the original context which leads to the creation of a completely new cultural text.