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

[纬达王]

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
>
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180306/ce3966d9/attachment.html>