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.
The in-between carries the potential for interference, diffraction, manipulation. This ‘space’ is a part of the assembled machine as an absence of object or material but the space is a thing where things change. The space in-between offers movement, speed, direction, flow, resistance, resonance, exchange, transmission, reception – a nomadic existence of noise and signal where we are free to release control and allow or enable movement at what Deleuze and Guattari describe as ‘absolute speed’. Rather than chaotic movement (although chaos is certainly a useful concept through which to investigate noise) the in-between offers activites of attraction and repulsion – resonance or dissonance. Is it the key ‘component’ that assembles the assemblage? The very nature of assemblages results in in-betweenness as the very space for connectivity between object, power, signal and noise and, again to take from Deleuze and Guattari, this is where the network takes on the rhizome-like complexity. The potential for any connections at once to any thing in the in-between removes any hierarchical structure – in fact the desire for noise (sonic and signal) is a method for opening up these potentially multiple connections. Objects relating to objects relating to sound relating to light assembled in such a way because of their specific qualities but also because of what emerges in-between.