How can post-punk modes of working be understood as a tactic to reconnect with music making in the digital present?

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What did post-punk look like from my perspective living in and attending art school in Leeds, West Yorkshire, in the late 1970s?

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If post-punk was a glimpse of an alternative future, what was the nature of that future and is it audible in the digital present?

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When considering how to intervene in the digital present, what are the implications of slowness, materiality and notions of “genuineness”?