[-empyre-] Hsia Yu's poetry
ed at escdotdot.com
Tue Mar 6 19:17:25 AEDT 2018
I’m very excited by the initial comments on this month’s topic, and look forward to the ongoing discussions!
It’s interesting that you mention Hsia Yu’s Pink Noise which presents an idea of “noise” focused on the visual presentation of the book (as I understand it). Developing on this, in 2016 she collaborated with Yan Jun from China on a book/CD project titled '7 Poems and Some Tinnitus'. The texts of her poems were presented in a fairly straightforward way on the book’s pages, but for our discussion the CD is probably most relevant. On these recordings Hsia Yu reads her poems over Yan Jun’s sounds, which are predominantly composed of what I believe are no-input sounds and feedback. You can preview the tracks here: <https://subjamlabel.bandcamp.com/album/7-poems-and-some-tinnitus>
There remain questions about what this mix of voice and harsh sound actually does, and whether any of the aforementioned “glitches” (if we are understanding this word metaphorically) actually occur.
> From: Junting Huang <jh2358 at cornell.edu>
> Subject: Re: [-empyre-] Welcome to the March 2018 Discussion!
> Date: 6 March 2018 at 02:36:55 GMT+8
> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au>
> Reply-To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au>
> 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 differences.
‘Beijing 2016–2017’ by Edward Sanderson
Audio cassette of field recordings, released on Zoomin’ Nights, Beijing 2017
Curator-Respondent on 'Grounds for Sound', part of the exhibition “Self-Criticism” at Beijing Inside-Out Art Museum
27/05/2017 – 22/10/2017
李蔼德 ／ Edward Sanderson
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