[-empyre-] Welcome to the March 2018 Discussion!

Junting Huang jh2358 at cornell.edu
Tue Mar 6 05:36:55 AEDT 2018

Thank you, Tim and Renate, for your responses. Revisiting Hsia Yu, David
Novak, and the NetNoise collective, I see much more connections between
acoustic noise and digital/communication noise through notions of
circulation, circuit, and feedback vis-a-vis difference. As Renate noted,
“the circulation of found texts are embedded within the complications of
cultural understanding and translation.”

In Japanoise, Novak characterizes the cultural formation of Japanoise as
“feedback,” which I find interesting. In a sound system, feedback occurs
when the output is routed back to the input, amplifying and intensifying
itself. But on the other hand, the feedback loop with its increasing
intensity will eventually overload the collapse the system, creating loud
squeals and unintelligible noise. That is where glitches happen. In other
words, in a connected world, noise could be said as the amplified


On Mon, Mar 5, 2018 at 10:55 AM, Timothy Conway Murray <tcm1 at cornell.edu>

> ----------empyre- soft-skinned space----------------------
> Thank you for your introductory post, Junting, and for organizing this
> fabulous month around the topic of Noise.  I am so looking forward to
> profiting over the month from your incredible international list of guests.
> Your introductory riff on David Novak, that “noise is a moving subject of
> circulation, of sound and listening, that emerges in the process of
> navigating the world and its differences" reminds of the project I
> collaborated on, now almost fifteen years ago, with Arthur and Marilouise
> Kroker. For an issue of CTHEORY MULTIMEDIA, the online collection of
> net.art we curated together, we focused on the theme of “NetNoise.”  The
> issue is still available online and most of the pieces still work.  The
> issue is organized around three noise pods, “Sound Motion,” “Culture
> Pitch,” and “Noise Velocity” that navigate the worldwide web and its
> difference.  The issue, itself designed by Ritsu Katsumata as an artistic
> noise field, features works from a host of artists who we now retroactively
> recognize as important shapers of new media art: Shu Lea Cheang (who sits
> on –empyre’s- new Editorial Board), Simon Biggs (a former –empyre-
> moderator), Young-Hae Chang Heavy Industries, MEZ, Christina McPhee (who
> was the glue of –empyre- through the 2000s), Jody Zellen, Akuvido, Candy
> Factory, Michaël Sellam, and Zvonka Simcic and Tanja Vujinovic..
> Interestingly, this issue on NetNoise was launched in same time period as
> –empyre-s first few years.
> Perhaps it might be interesting for me copy, in dialogue with you and
> Novak, the Curatorial Note that Arthur, Marilouise, and I composed to frame
> NetNoise:
> “Imagine the manifold sounds of Art on the Net.  Listen to what’s
> happening when CTHEORY morphs into CSOUND.  Then enter the zone of CTHEORY
> MULTIMEDIA coming of age on the pulsating horizon of NET.NOISE. A sound of
> wireless motion and dark noise. The surging sound of coding, network
> streaming and file-surfing. The almost undetectable whispers of splicing,
> mixing and mutating noise into a brilliant tattoo on the skin of the
> digital.  The viral background of digital culture, NetNoise sounds the
> electronic pulse of connectivity, the babble of chat, the pints of hits,
> and the silent tracking of back-orifice hacking.. What happens when sound
> resonates images with such intensity that art shudders, finds itself
> wandering in a spectral space of its own making?  What happens when the net
> hears murmurs of strange new codes – digital looping, sound displacement,
> time compression, phasal syncopation – and suddenly opens up into a new
> electronic universe, speaking the vernacular of sounds recombinant fit for
> speed travel across the crystal palaces of the image matrix?. What happens
> the pitch and sigh of digital noise envelopes and expresses the complexity
> of decaying material culture and corporeal politics?  When the Net finally
> begins to speak, when the codes of the wired world finally find utterance,
> global surfers are suddenly projected into an art of the cyber-ear,
> listening intently to what artists of net.noise have to tell us about the
> distended ear of digital sounds and images.”
> Because the citation of this text so calls to mind the verve and grain of
> the performative voices of the Krokers whose theorizing and public
> performances were so crucial to the conceptualization of digital culture, I
> recommend that you attend to the multimedial presentation of this text as
> we all spoke it for NetNoise: http://ctheorymultimedia.
> cornell.edu/four.php (click on “Curatorial Notes” button – we also
> provided similarly multimedial curatorial notes for each sound pod).
> Looking forward to a fantastic month.
> Tim
> Timothy Murray
> Director, Cornell Council for the Arts and Curator, CCA Biennial
> http://cca.cornell.edu
> Curator, Rose Goldsen Archive of New Media Art
> http://goldsen.library.cornell.edu <http://goldsen.library.cornell.edu/>
> Professor of Comparative Literature and English
> B-1 West Sibley Hall
> Cornell University
> Ithaca, New York 14853
> On 3/2/18, 11:43 AM, "empyre-bounces at lists.artdesign.unsw.edu.au on
> behalf of Junting Huang" <empyre-bounces at lists.artdesign.unsw.edu.au on
> behalf of jh2358 at cornell.edu> wrote:
>     ----------empyre- soft-skinned space----------------------
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu

Junting Huang
Department of Comparative Literature
240 Goldwin Smith Hall
Cornell University
Ithaca, NY 14853
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