Lo-fi music is commonly associated with a recording aesthetic marked by an avoidance of state-of-the-art technologies and an inclusion of technical flaws, such as tape hiss and static. However, I argue that lo-fi music is not defined merely by the presence of such imperfections, but by a discourse which deliberately draws attention to them. Album liner notes play an important role in this discourse, as they can function as curatorial practices, through which lo-fi artists give an appropriate frame of reference to their recordings. By highlighting the ‘honest’ character of the recordings, the intimate recording spaces, the materiality of the equipment and its ambiguous character as machine/instrument/performer, they invite listeners to adopt a genre-adequate mode of listening. Rather than listening past hiss and other recording artefacts as undesirable qualities, listeners are asked to listen for these qualities as an essential element of not just the recordings, but the music itself.

中文翻译：

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聆听嘶嘶声：作为策展实践的 lo-fi 班轮笔记

低保真音乐通常与以避免最先进技术和包含技术缺陷（如磁带嘶嘶声和静电）为标志的录音美学相关联。然而，我认为 lo-fi 音乐的定义不仅仅是存在这些缺陷，而是一种有意引起人们注意的话语。专辑衬纸笔记在这个话语中扮演着重要的角色，因为它们可以作为策展实践，通过它低保真艺术家为他们的录音提供适当的参考框架。通过突出录音的“诚实”特征、私密的录音空间、设备的重要性及其作为机器/乐器/表演者的模棱两可的特征，他们邀请听众采用适合流派的聆听模式。而不是听过去的嘶嘶声和其他录音制品作为不良品质，听众被要求听为了这些品质不仅是录音的基本要素，也是音乐本身的基本要素。