We mustn’t think in terms of instances of noise that are growing louder, ready to be heard by us; or of new subjects that are about to emerge. You don’t have noise biding its time, speech in gestation and awaiting the moment when it will finally be heard. Instead, there is a combination of two relationships: there is the permanence of a conflictual relationship over what is noise, speech or silence; but there are also changes in the form of this division. On the one hand, throughout our society there is speech that is heard merely as noise. Thus, the speech of refusal uttered by people who are made unemployed because of relocation and restructuring is conceived simply as the noise made by a victim. However well-argued, it is always interpreted by the rulers and their experts as the noise of suffering. For them the world moves on and, in so doing, creates wounds and suffering that are to be construed as such. If we take the case of immigration, the people who negotiate with illegal immigrants [sans-papiers] on hunger strike know full well that they are talking not with suffering bodies, but with people who argue, who have learnt in Africa the art of discussion, and for whom speech is an important element of social life. This does not prevent the situation of the sans-papiers from generally being regarded as a phenomenon of suffering and treated as such. So you don’t have noise which is going to become speech, but speech which is always an issue of interpretation. Will it or won’t it be heard as speech? Where is it going to be heard as noise or as speech?
December 18, 2012
November 21, 2012
November 20, 2012
October 11, 2012
joel assaizky – music and all instruments
kaganof – vocal and lyrics
recorded in parkhurst at the a nul dubh studio, 2005
August 22, 2012
August 5, 2012
noise is post-music
noise is the phoenix of music moving beyond music
noise iterates what music never can, because noise is unruled
ergo: noise rules!
June 6, 2012
June 5, 2012
May 4, 2012
May 3, 2012
October 12, 2011
a concept by Aryan Kaganof for a collaboration between Michael Blake, Jean-Pierre De La Porte and Aryan Kaganof.
FU, the return, is the 24th symbol of the ancient Chinese divination system, the I Ching.
FU is also the title of a medium specific collaborative project that utilizes the SHUFFLE button of the dvd or mp3 player as an organizing feature of the compositions (or should it be disorganizing in this case?).
The 64 symbols of the I Ching will provide the inspiration for a set of exquisite miniatures; no composition over 1 minute in duration. The materials for each composition need not necessarily be conventional instruments; and if they are conventional instruments they need not be played conventionally. A good example of a conventional instrument being played non-conventionally would be Scelsi’s Ko-Tha for guitar.
Michael will not compose these 64 miniatures in the order that they appear in the I Ching. ie not from 1 through to 64.
The first composition to be composed will be 24. The Return. Thereafter Jean-Pierre will provide the next number. He will arrive at this number by means of an aleatoric process that is DIFFERENT each time. Each time a composition is completed its numeral will be removed from the set of possibilities thereby removing the chance of a number repeating.
Each miniature composition will be given to Aryan to create a filmic response to. The filmic miniatures will all be shot on site. This composite work of 64 chapters will in fact be a portrait of the exquisite natural environment of the area.
The pressure cooker nature of this collaboration will demand that at least one composition is written and filmed each day for 64 days. At the end of 2 months all 64 works will be collated by Jean-Pierre and presented as a composed for CD medium specific work that cannot play the sequence 1 through to 64. Furthermore it can never play the same sequence twice. Each time the CD is played through from beginning to end, it erases that possibility from its SHUFFLE mode architecture. In this way FU can never return!
MAC PRO COMPUTER WITH FINAL CUT PRO 7 SOFTWARE
MAC PRO COMPUTER WITH SIBELIUS SOFTWARE
SENNHEISER, RODE AND NEUMANN MICROPHONES
July 19, 2011
Sound is all about ears.
That might read a bit idiotically but it’s true.
Sound is about ears.
And if a sound technician or sound artist or composer does not have good ears….
The sensibility of the ears is such a subjective thing of course, so one might add, well one’s man’s “good” sound is another man’s noise …
But I don’t believe that.
Sound is about good ears.
If you can’t hear it no amount of technology is going to improve things.
It’s a bit like playing pool. You can be coached for a thousand years, but if you can’t see the line the ball won’t go down, that’s it.
June 7, 2011
June 2, 2011
May 31, 2011
more info here: http://norient.com/video/soundtrack-for-a-japanese-apocalypse/
April 17, 2011
I happen to believe, for instance, that heavy metal and rock are the deconstruction of all human silence and of all hopes for human quietness and inwardness.
read the interview here: http://www.theparisreview.org/interviews/1506/the-art-of-criticism-no-2-george-steiner
February 4, 2011
January 21, 2011
January 16, 2011
December 15, 2010
November 19, 2010
September 2, 2010
September 1, 2010
Written by Samael Aun Weor
A “still, small voice” incessantly resounds within the cells of the human brain. This is a sharp, hissing sound. This is the sound of a “chirping cricket,” the “hissing of the serpent,” the “Anahat sound.” The Voice of Brahma has ten tonalities that the Theurgist must learn how to listen to. As the bee absorbs itself within the nectar of the flower, likewise, the mind of the student should be absorbed within that sound.
Whosoever wishes to perceive the “Anahat sound,” must empty the mind, must quiet the mind, but not forcedly quiet it; we repeat, quiet.
Let us perceive the difference between a mind that is quiet because it has comprehended that it is useless to think and a mind that is artificially quieted. Understand the difference between a mind that attains a spontaneous, natural silence, and a mind that has been silenced by force, violently.
When the mind is quiet, in profound silence, the student can then inevitably perceive the sound of the cricket: a subtle, sharp, penetrating sound. Moreover, if the soul of the student is absorbed within such a mystical sound, then the doors of mystery open up for him. Consequently, in those moments, rise from the bed instinctively and leave the room; go towards the Temples of the White Lodge, or to any place in the Universe.
this article first appeared here