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”
In Berlin thinking of fields and reading Timothy Morton on a flight – doom and ecological catastrophe. Watching Robert Henke’s ‘fragile territories’ installation for some time – time is on the surface of the screen, being burnt in with laser precision fired at a surface 100s of times per second. This ‘digital’ precision is in some way presenting a view of analog waves – ‘the time of non-reality’ was this Wolfgang Ernst? This is the analog slope in digital waves. Even within the most precise digital square wave there exists, in the movement from (the in-between) 0 to 1 a certain gradual shift that is not as exact as 0 and 1 – this is the in-between as explained by Michel Serres writing about Fuzzy Logic in ‘The Parasite’ (I think). All is analog. Back to fields – electromagnetic fields, philosophical fields, acoustic fields, green fields, disciplinary fields… wandering around within them, we are on the inside, moving along indirect paths, treading the path (Richard Long) but at speed. At ‘absolute speed’ our movement and the movement of noise / signal is nomadic with the potential to go anywhere at anytime – be in multiple places (quantum). As Jane Bennet writes in ‘Vibrant Matter’ in regards to the shutting down of the entire Eastern Seaboard Electricity Grid – the engineers could not entirely explain how an electrical signal ‘decided’ (just as how Heidegger’s hammer ‘wants’ to be held) to travel a different route and then crash the system.