To introduce noise and interference into text repetition may be an interesting approach. To fold lines back into the body of text begins to create points of disturbance in the writing and reading. It acts as a disruption or interruption – reminded here of David Hall’s amazing TV Interruptions from 1971 – causing new connections to be formed. To introduce noise and interference into text repetition may be an interesting approach. Like the bundles of dust collecting in a corner where points shift and fold into new proximities the lines of repeated text begin to force new connections of concepts. A shifting resonance of ideas. With repetition comes difference – Deleuze. There are no two identical readings of the same line. There are no two identical readings of the same line. Lines from Tim Ingold. A shifting resonance of ideas. This line is an interference in the writing and reading – it acts to disrupt both author and audience. To code some process of this repetition, to excite the writing process with a challenge or game to compete with the repetition. A shifting resonance of ideas. To introduce noise and interference into text repetition may be an interesting approach. Lifting and placing text across the page is a cut up.
Album: Human Performance
It comes through the floor
It comes through the roof and
It comes through the door
It sneaks in ignored
It stacks up around
You’re biting it now
Dust is everywhere
Dust is everything but dust is hidden. We need to encourage dust. Dust is noise. Dust is darkness. Reza Negarestani explores dust through its central influence in the Middle East where dust is place and dust is time. Dust is surface and boundaries whilst also travelling across territories. It is carried on the lightest of wind and made by elements carried in the same way. Dust is always an assemblage in continuous flux marking territories. As noise it is the crackle on vinyl surface – try listening to Christian Marclay’s record without a sleeve – it is dirt in solder joints, it is interference between light transmission and receiver. The dirt of dust is in our media devices as written by Jussi Parrika. Dust moves nomadically.
Noise is encountered across all interactions of signal and object. There is potential within that noise for creativity to emerge. Noise can be the final output from a system in regards to a sonic arts performance or an installation and challenges preconceived ideas about what sound or music can be. Noise pushes at the very limits of what we culturally understand as music. Continue reading “Encountering Noise”
This excess of sound (zao) is pushed out from the world of sound that is created in music – discarded, unwanted but this material is still beautiful to play with and holds such great potential – it is so simple and so complex at the same time. This excess reminds me of thoughts around entropy and expelled heat from combustion engines – what does the governor in an engine do? Into the field of noise can we place Maxwell’s Demon – allow the fast moving particles to separate from those slower one. Do we end up with a field of high frequency and another of low frequency? This experiment does not allow then for the natural order of thermodynamics to occur and thus no entropy occurs – No Zao! No Excess! I’m confused about entropy most of the time and slightly concerned about including it in my research as it leans too much towards the scientific world and I’m not comfortable there.
Music – Noise Noise – Music. Is there pressure upon noise artists to make music? To make noise music? Why can’t noise just be noise? Is it good that noise has been welcomed into the fold of music? It obviously helps for us to regard it within a particular performance context but do the structures and foundations of music really help us understand noise? This is all relating to noise as sonic output – tricky overlap that does need to be dealt with – the noise of signal (information theory) and the noise of sound (music?). Receiving a text ‘The Laundromat by the Sea’ from John Richards in an invite to take part in a performance event in response to the text that is written by Yan Jun has encouraged me with my performance work and will aim to produce a short performance exploring drones, interference, light and sound. This uses elastic bands – useful to explore the writing in Pleats of Matter (Deleuze, The Fold) ‘a body has a degree of hardness as well as a degree of fluidity, or that it is essentially elastic’. The forces at work in making this noise output can well be explored in the fold. ‘When a boat reaches a certain speed a wave becomes as hard as marble’ (Deleuze, The Fold) – this shifting of materiality, liquid to solid, without heating or cooling suddenly fascinates me. Changing the properties of materials simply through ‘speed’ (movement) is interesting to think of in response to the movement of nomadic noise – moving at absolute speed (D&G, TP). How about the changes occurring through slowness? Can we ‘slow’ metals into a liquid state? To explore the writing by D&G on metallurgy as this is also where they describe nomadism in Thousand Plateaus.