[-empyre-] Fragments of Noise, part 2

Murat Nemet-Nejat muratnn at gmail.com
Fri Mar 30 10:19:23 AEDT 2018

Hi Christophe,

Noise is the outer/aether ranges of language. Silence is the quantum jump.


On Thu, Mar 29, 2018 at 6:44 PM, Christof Migone <cmigone at uwo.ca> wrote:

> ----------empyre- soft-skinned space----------------------
> I appreciate Murat¹s formulation that "silence is the Œunreachable' zero
> point of noise, Œpart' of noise.² My only question is whether noise in
> this instance is interchangeable with sound? Or, is noise here (and
> perhaps frequently elsewhere) a way to get to an expanded field of the
> sonic?
> -----------
> From Fred Moten¹s Black and Blur, pp.63-64: ³While Adorno requires
> recognition of the distinction between phonic substance or sound and
> musical material, Gould demands reduction of the tactile experience as
> well so that he might conceptualize what he can¹t imagine, imagine what he
> cannot hear. It is, however, by way of ecstatic singing and humming,
> irruptively involuntary movements of/and conduction, the supposedly
> degraded and degrading accompaniments of the pianistic utterance, that
> Gould achieves a certain content or essential music whose outward
> manifestation is the irreducible sound of the piano and his irrepressible
> phono-choreographic accompaniment. That ensemble of
> accompaniment‹composition¹s disruptively constitutive innermost extremity,
> the native fugue-state of being-composed‹is essential to that content; it
> is its condition of possibility. It is the embarrassment not simply of
> music¹s irreducible materiality but of the origin and end of music¹s
> fantastic transcendence of that materiality in that materiality that is
> the source of what we might call Gould¹s performance anxiety, which is
> allayed and relayed in his performance of and through his love affair with
> the mediating force of forced microphonic rendition and stereophonic
> audition. This is all to say that Gould¹s recordings bear the trace, and
> Girard¹s film insists upon, the centrality of visual, tactile, and aural
> experience‹a performativity that improvises through the opposition of
> media and the immediate‹to the abstract truth in music. By way of fantasy,
> the recordings and the film document this unconcealment. Such
> animateriality always verges on scandal, whether it takes the form of
> discomposing song or abducted listening.²
> Moten¹s animateriality seems the kind of (noisy) agent that lurks as
> reminder/remainder to be a generative way to (back- but also fore-)ground
> noise. An animateriality that ensures that the feedback loop of
> referentiality always derails, even if just by a byte.
> In the postface (titled Emit) of recently published selection of Erin
> Moure¹s poetry (Wesleyan, 2017), Planetary Noise, Moure mentions the word
> Œtexterior¹‹I can¹t think of a better pairing than Œanimateriality¹ with
> Œtexterior.¹ Here¹s more context for Moure¹s neologism (I presume its
> hers) (p. 165-6): "In poetry, texturalities, textualities, textscapes,
> texteriors generate and are generated, thrall and intercalate. Anger and
> despair are not alien to poetry either, for poetry is not Œmeaning' but is
> this Œworking,' this formae vitae in which the individual poet¹s mind and
> hands are plural with other poets and all are called to 'work at the
> limits of signification.' Not entropic but amplificatory."
> -----------
> Fred Moten, during the Q & A which follows his March 21 lecture ³The Gift
> of Corruption² (https://vimeo.com/261854255 ‹ around the one hour mark)
> writes on the blackboard: sinn + sin = nonsense.
> ----------
> Christof
> >
> _______________________________________________
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> empyre at lists.artdesign.unsw.edu.au
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