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

[纬达王]

--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 :

> --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 
> 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 zo

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

[Junting Huang]

--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 
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.
> cornell.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 A

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

[Timothy Conway Murray]

--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.cornell.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 
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-boun...@lists.artdesign.unsw.edu.au on behalf of 
Junting Huang"  wrote:

--empyre- soft-skinned space--

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

[Renate Terese Ferro]

--empyre- soft-skinned space--
HI Junting, 
I have signed off all of your guests on empyre.  Week 1 guests should be ready 
to go ahead and post.  I have sent everyone a repeat of instructions, etc.  
Hope all this helps.  More soon via empyre.  Renate


Renate Ferro
Visiting Associate Professor
Director of Undergraduate Studies
Department of Art
Tjaden Hall 306
rfe...@cornell.edu

On 3/2/18, 1:11 PM, "empyre-boun...@lists.artdesign.unsw.edu.au on behalf of 
Junting Huang"  wrote:

--empyre- soft-skinned space--

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

[Junting Huang]

--empyre- soft-skinned space--Noise: Disorientation, Contamination, and (Non)Communication

Moderated by Junting Huang and Xin Zhou with invited guests

Week 1: Xin Zhou (CN), Weida Wang (CN), David Xu Borgonjon (US)
Week 2: Eleonora Oreggia (IT/UK), Joo Yun Lee (KR), Wenhua Shi (CN)
Week 3: Norie Neumark (AU), Sarah Simpson (UK), Ryan Jordan (UK/HK),
Gianluca Pulsoni (IT)
Week 4: Caitlin Woolsey (US), Christof Migone (CA), Julien Ottavi (FR),
Junting Huang (CN)

Thank Renate for the introduction. Welcome to the March discussion!

Noise is not only limited to acoustic experience. The Latin root of
"noise," nausea (originally "seasickness"), refers to the sensory
experience of disorientation in general. In David Novak's words, noise is
"a moving subject of circulation, of sound and listening, that emerges in
the process of navigating the world and its differences."

In 2007, a Taiwanese poet named Hsia Yu published Pink Noise, a bilingual
poetry collection made of found texts in English and machine-translated
texts in Chinese printed on translucent plastic leaves. Since the language
pair between Chinese and English is notoriously difficult for machines, the
translated text is, not surprisingly, often incoherent, nonsensical, and
"noisy." This uneven linguistic hierarchy is echoed by the fact that all
original English texts are kept intact, whereas all machine translated
Chinese texts are derivative and unidiomatic. It is clear which language is
calibrated against which. However, Pink Noise reveals the digital protocol
that dictates the global circulation of language. It also acknowledges the
mutual unintelligibility of cultural and linguistic differences.

Today, noise became an encompassing figure. It refers to unstructured,
extraneous, and erroneous traces that have diverged from cultural
norms-from acoustic aberration ("noise music") to ecological contamination
("noise pollution") and informational abnormality ("noise signal"). This
month, we invite our guests and subscribers to think together: How does
noise register a response to norms, protocols, and authorities? How does
noise reveal the epistemic bias of social and political power? How could
noise become an effective strategy for conversation and/or resistance?

--

Week 1: (March 1 to 7)

Xin Zhou

Xin ZHOU is a researcher, writer and curator of film, video and media arts,
currently based in Shanghai. He has curated public programs and film and
video series at Anthology Film Archives (NYC), Carpenter Center for the
Visual Arts (Boston), Institute of Contemporary Art/Boston, National Museum
of Modern and Contemporary Art, Korea (Seoul), UnionDocs Center for
Documentary Art (Brooklyn), OCT Loft (Shenzhen), and The Performing Garage
(NYC). He was co-curator of the 2nd Asian Film and Video Art Forum at MMCA
in Seoul, and guest curator of the 2nd Shenzhen Independent Animation
Biennale at OCT Loft, Shenzhen. Recent projects include MONSOON, PRAYERS,
NEW ROUTES: URBAN ISLAM ACROSS THE INDIAN OCEAN at the Institute of
Contemporary Art/Boston, and ODE TO INFRASTRUCTURE at META Project Space,
Shanghai. His writing has appeared in Artforum (China), The Brooklyn Rail,
Film Comment, Social Factory: 10th Shanghai Biennale exhibition catalogue,
and elsewhere. He has a MA in Cinema Studies from New York University, and
was a Research Associate in the Department of Chinese Culture at the Hong
Kong Polytechnic University (2016-2017).

Wang Weida

Wang Weida is a PhD candidate in the music department of Royal Holloway,
University of London. His subject focuses on Western classical music
Industry in the Post-Socialist China which relates to an interdisciplinary
research crossing musicology, cultural studies, creative industry studies
and music management. He also examines how cultural and social ecologies
construct people's subjectivities within the context of China's cultural
industries by looking at the relation between Chinese and Western
philosophy.

David Xu Borgonjon

David Xu Borgonjon is a writer and curator. He works on the economic
imagination in contemporary art and 20th century literature. Based in New
York, he teaches curating at Rhode Island School of Design and is
completing a Ph.D. in modern Chinese literature at Columbia University.
www.davidborgonjon.com
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