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A Sanctuary of Sounds

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ISBN: 9780615814872 Year: Pages: 98 DOI: 10.21983/P3.0029.1.00 Language: English
Publisher: punctum books
Subject: Languages and Literatures
Added to DOAB on : 2019-06-12 09:24:44
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A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise. What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself. A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape.

Noise Thinks the Anthropocene: An Experiment in Noise Poetics

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ISBN: 9781950192052 9781950192069 Year: Pages: 162 DOI: 10.21983/P3.0244.1.00 Language: English
Publisher: punctum books
Subject: Music
Added to DOAB on : 2019-03-26 11:21:03
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In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic. Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways.

Atopological Trilogy: Deleuze and Guattari

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ISBN: 9780692403723 Year: Pages: 90 DOI: 10.21983/P3.0096.1.00 Language: English
Publisher: punctum books
Subject: Philosophy
Added to DOAB on : 2019-06-12 09:24:39
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Atopological Trilogy creates new concepts for Deleuze-Guattarian thought without any heed for sectarian, sermonising, or dutiful readings of the philosophers. In Part I of the trilogy, “Becoming-Sexual of the Sexual,” Aracagök demonstrates the ways in which quantum theory and the concept of “complementarity” inform Deleuze and Guattari’s thought, especially in relation to “becoming” in general and “becoming-woman” and “becoming-queer” more particularly. Aracagök argues that the ways in which the philosophers put forward a ban on “becoming-man” with a certain degree of undecidability encapsulates (albeit in a cryptic form) other becomings, the most important of which is becoming-queer, or rather, the becoming-sexual of the sexual. In Part II: “Deleuze on Sound, Music, and Schizo-Incest,” Aracagök puts into resonance the sound, noise, and music (and the question) of schizo-incest with the intention of deterritorialising a notion of the meta-audible. If Kafka’s story, “The Investigations of a Dog” leads us to a realm of the “formless” which cannot be heard without destroying what we know as “hearing,” it also offers us a limit-experience of the meta-audible, which, when radicalised via the notions of “schizo-incest” and “self-shattering,” creates a line of flight that escapes even from the line of flight itself. All these maneuvers pose a serious challenge to Deleuze and Guattari, who claim that despite all his investigations, Kafka’s investigator dog is re-Oedipalised in the end. Proposing in the end a limit experience which Aracagök calls the “meta-audible,” he shows that Kafka’s more radical approach to sound creates a line of flight that escapes even from the line of flight itself

Minóy

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ISBN: 9780692234273 Year: Pages: 104 DOI: 10.21983/P3.0072.1.00 Language: English
Publisher: punctum books
Subject: Philosophy
Added to DOAB on : 2019-06-12 09:24:41
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Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s. Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992). Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner).

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