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

Xin Zhou xin.zhou66 at gmail.com
Fri Mar 9 07:32:04 AEDT 2018

Thanks to Junting for having me here, and sorry for the late response.

I have a copy of Taiwanese author Hsia Yu's Pink Noise, but it looks more
like a work of modern poetry, and an attempt to visualize and materialize
the language, and less likely a concern regarding the concept of 'noise'.
But it could be an interesting point to start our discussion.

To my knowledge, a few recent archival exhibitions that try to historicizes
'noise practice' in East Asia are also from Taiwan, where there was an
underground cultural and/or social movement, right after the lift of the
martial law from the late 80s. Some of the cases might be comparable to
David Novak's book on Japanoise (though I haven't read it), where the
notion of noise does "register a response to norms, protocols, and
authorities," as Junting points out in the introduction.


Prof Wenhua Shi at UMass Boston co-curated a show on sound art in China a
few years ago at Colgate U. Maybe we can have him to introduce a bit of the
background behind that show next week.


On Tue, Mar 6, 2018 at 10:05 AM, 纬达王 <mariofan298 at gmail.com> wrote:

> ----------empyre- soft-skinned space----------------------
> Thank you Junting, Tim and Renate,
> I like Junting mentioned about the definition of noise: ‘Noise is not only
> limited to acoustic experience … refers to the sensory experience of
> disorientation in general.’  I occasionally know another book called Pink
> Noises: Women on Electronic Music and Sound written by Tara Rodgers, which
> ‘brings together 24 interviews with women in electronic music and sound
> cultures, including club and radio DJs, remixers, composers, improvisers,
> instrument builders, and installation and performance artists…’
> In terms of acoustic experience. In today’s music industry, the musical
> democracy has made a more refined classification of music audiences has
> been revealing under today’s music democracy and the boundaries between
> music, sound and noise are more and vaguer. Noise In recent research, I am
> interested in how noise functioning in the current music-making process,
> why noise is important in contemporary composition and how noise reshaping
> the pattern of music audiences
> For example, Glitch as Junting’s vivid description, originally considered
> as a style characterized by sonic fragments of a technological error, is
> generally utilised in some new compositional works as a way of enriching
> and complicating musical presentation. Glitch is now taken seriously as a
> sociological norm to measure musical audiences’ subjectivities
> sociologically, culturally and politically.  British sociologist Nick Prior
> is probably an important scholar in this area. When Nick analyse glitch
> audiences he said, ‘While key electronic sites of discussion such as
> websites and discussion forums serve as semi-public means for disseminating
> glitch-related projects and ideas (www.microsound.org is a particularly
> influential staging post), bigger and wider audiences are less important
> than the social quality of the audience and the production of belief
> regarding total creative freedom.’
> Weida
> 2018-03-05 18:36 GMT+00:00 Junting Huang <jh2358 at cornell.edu>:
>> ----------empyre- soft-skinned space----------------------
>> 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.
>> Junting
>> On Mon, Mar 5, 2018 at 10:55 AM, Timothy Conway Murray <tcm1 at cornell.edu>
>> wrote:
>>> ----------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.corne
>>> ll.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
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
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