noise music

is a genre that forces the question on us how to hear something when we not only do not know what to listen out for, but have in fact been categorically told not to listen.

The question here is how can I hear something when not only do I not know what to listen out for, but have in fact been categorically told not to listen? – Noise crashes those barriers of obliging politeness and hears what cannot be seen. The artwork as sensorial material cannot set boundaries of experience only discourse does that. Noise re-asserts experience over modernist reserve, and gets the body moving.

is a genre whereby the voice as noise pursues no legitimation in language. It is thinging in its most provocative fashion.

the voice as noise pursues no legitimation in language. It is thinging in its most provocative fashion. Embracing me in its breath, it is the sensible sentient, the sensing body as thing, that senses my sensibility in its sensorial production, as my own sensibility senses it.

is a kind of music that encourages you to fall into the work’s sensorial rhythm, to abandon any attempt to summarize or judge it, to understand that it is simply there to be heard.

Christian Marclay’s Records sounds like such a failure and invites abandon. Not only can there be no score to this work, it abuses genres, stretches references, mixes history into the now and repeals it all. I am not sure what I am listening to most of the time and this ‘acoustic blindness’ allows me to hear anything I can imagine.29 I fall into the sensorial rhythm of the work and abandon any attempt to summarize or judge it. It is there to be heard.

is an assault that does not diminish or weaken the ears but stretches them further and further, sending us reeling in extremes that verge towards something so loud it is impossible to hear.

Unlike eyes I cannot close my ears and so cannot avoid my own physical complicity with his attack. But the assault does not diminish or weaken them but stretches them further and further to hear in Yoshihide’s sonic riot inaudible sounds: unable to fight the noise I submit to its demand, gloriously reeling in extreme sounds that verge towards something so loud it is impossible to hear.8

is an inescapable assault (unlike the eyes which we can close at will at any moment), forcing our organs to take on a new shape, that extends, dents, and turns them inside out.

In the end there is only the possibility of leaving, to escape and nurse outside the performance space internal organs and ears tortured. Organs that have taken on a new shape, that have been extended, dented, turned inside out.

is characterized by aesthetic simultaneity. It demands a consideration of itself in its sensorial complexity without recourse to art historical, political, relational, social, etc. theories that present it with a language that precedes its encounter and immobilizes its present production.

Noise leaves no space for a theoretical or philosophical foot to lodge itself between the heard and the felt for language to assert its right over the work. Noise is aesthetic simultaneity. It demands a consideration of itself in its sensorial complexity without recourse to art historical, political, relational, social, etc. theories that present it with a language that precedes its encounter and immobilizes its present production.

is a break with the language base. It can only find its way to language in the acknowledgment that it can’t. In it, t hething discussed is the body that heard not the work that played.

Noise breaks with the language base. All I can do is stutter, swear, switch my own sound system on or at best dance. I won’t be heard anyway through this racket. Noise can only find its way to language in the acknowledgment that it can’t. The thing discussed is the body that heard not the work that played. Noise forces the listening subject into the critical ring and turns the work into moments of experience.

is a genre representing the desire to communicate, to seek and practice signifying, not however its meanings.

What we can share in Noise is the desire to communicate, to seek and practise signifying, not however its meanings. Those are practised in silence, contingently, reciprocally, centrifugally out of the sensate material out into the world to strike whatever shared meanings occur. The basis of the critical language of a philosophy of sound art is personal conviction, which arises out of the practice of listening rather than social contracts that precede it.

noise music, n.All

noise music