This paper explores the creative appropriation of loudspeakers and other electromechanical devices in sonic arts practice. It is proposed that this is an identifiable area of sonic art worthy of its own historical and theoretical account. A case study of an original work by the author titled Infinite Spring is presented within a context of works by other practitioners from the 1960's to present day. The notion of the `prepared speaker' is explored alongside theories of media archeology, cracked media and acoustic ecology.
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