<div dir="ltr">Hi Christophe,<div><br></div><div>Noise is the outer/aether ranges of language. Silence is the quantum jump.</div><div><br></div><div>Ciao,</div><div>Murat</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Mar 29, 2018 at 6:44 PM, Christof Migone <span dir="ltr"><<a href="mailto:cmigone@uwo.ca" target="_blank">cmigone@uwo.ca</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
<br>
I appreciate Murat¹s formulation that "silence is the Œunreachable' zero<br>
point of noise, Œpart' of noise.² My only question is whether noise in<br>
this instance is interchangeable with sound? Or, is noise here (and<br>
perhaps frequently elsewhere) a way to get to an expanded field of the<br>
sonic?<br>
<br>
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<br>
>From Fred Moten¹s Black and Blur, pp.63-64: ³While Adorno requires<br>
recognition of the distinction between phonic substance or sound and<br>
musical material, Gould demands reduction of the tactile experience as<br>
well so that he might conceptualize what he can¹t imagine, imagine what he<br>
cannot hear. It is, however, by way of ecstatic singing and humming,<br>
irruptively involuntary movements of/and conduction, the supposedly<br>
degraded and degrading accompaniments of the pianistic utterance, that<br>
Gould achieves a certain content or essential music whose outward<br>
manifestation is the irreducible sound of the piano and his irrepressible<br>
phono-choreographic accompaniment. That ensemble of<br>
accompaniment‹composition¹s disruptively constitutive innermost extremity,<br>
the native fugue-state of being-composed‹is essential to that content; it<br>
is its condition of possibility. It is the embarrassment not simply of<br>
music¹s irreducible materiality but of the origin and end of music¹s<br>
fantastic transcendence of that materiality in that materiality that is<br>
the source of what we might call Gould¹s performance anxiety, which is<br>
allayed and relayed in his performance of and through his love affair with<br>
the mediating force of forced microphonic rendition and stereophonic<br>
audition. This is all to say that Gould¹s recordings bear the trace, and<br>
Girard¹s film insists upon, the centrality of visual, tactile, and aural<br>
experience‹a performativity that improvises through the opposition of<br>
media and the immediate‹to the abstract truth in music. By way of fantasy,<br>
the recordings and the film document this unconcealment. Such<br>
animateriality always verges on scandal, whether it takes the form of<br>
discomposing song or abducted listening.²<br>
<br>
<br>
Moten¹s animateriality seems the kind of (noisy) agent that lurks as<br>
reminder/remainder to be a generative way to (back- but also fore-)ground<br>
noise. An animateriality that ensures that the feedback loop of<br>
referentiality always derails, even if just by a byte.<br>
<br>
In the postface (titled Emit) of recently published selection of Erin<br>
Moure¹s poetry (Wesleyan, 2017), Planetary Noise, Moure mentions the word<br>
Œtexterior¹‹I can¹t think of a better pairing than Œanimateriality¹ with<br>
Œtexterior.¹ Here¹s more context for Moure¹s neologism (I presume its<br>
hers) (p. 165-6): "In poetry, texturalities, textualities, textscapes,<br>
texteriors generate and are generated, thrall and intercalate. Anger and<br>
despair are not alien to poetry either, for poetry is not Œmeaning' but is<br>
this Œworking,' this formae vitae in which the individual poet¹s mind and<br>
hands are plural with other poets and all are called to 'work at the<br>
limits of signification.' Not entropic but amplificatory."<br>
<br>
-----------<br>
<br>
<br>
Fred Moten, during the Q & A which follows his March 21 lecture ³The Gift<br>
of Corruption² (<a href="https://vimeo.com/261854255" rel="noreferrer" target="_blank">https://vimeo.com/261854255</a> ‹ around the one hour mark)<br>
writes on the blackboard: sinn + sin = nonsense.<br>
<br>
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<br>
Christof<br>
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