“Linnut” por Diana Combo aka EOSIN, como respuesta al intercambio del libro Noise&Capitalism. Obrigado Diana!

EOSIN: Linnut

Crítica de Noise & Capitalism en la revista Volume!
por Aitor Izaguirre (en francés)

http://www.mattin.org/Aitor_Izagirre.pdf

NOISE CONFERENCE IN SALFORD Call for Participation
“Bigger than Words, Wider than Pictures”: Noise, Affect, Politics

“Bigger than Words, Wider than Pictures”: Noise, Affect, Politics

University of Salford and Islington Mill, July 1-3 2010
Organising Committee:
Dr Michael Goddard, Dr Benjamin Halligan and Professor David Sanjek

“If there are people that are dumb enough to use Metallica to interrogate prisoners, you’re forgetting about all the music that’s to the left of us. I can name 30 Norwegian death metal bands that would make Metallica sound like Simon and Garfunkel.” – Lars Ulrich

“… this music can put a human being in a trance like state and deprive it of the sneaking feeling of existing, ‘cos music is bigger than words and wider than pictures… if the stars had a sound it would sound like this.” – Mogwai, “Yes! I Am a Long Way from Home”

Noise Annoys. Is it not a banal fact of modern, urban existence that one person’s preferred sonic environment is another’s irritating, unwelcome noise – whether in the high-rise apartment, on public transport or the street, or almost anywhere else? The contingent soundscape of jack-hammers and pneumatic drills, mobile phone chatter, car sirens and alarms, sound leakage from nightclubs and bars and – moving into the suburbs – lawn-mowers and amateur renovation projects, neighbouring kids and dogs, represents a near-constant aural assault. As a pollutant, noise can legally attain noxious levels; it is both potentially biologically harmful and psychologically detrimental.

But what exactly is noise and what conditions these relative thresholds in which sound crosses over into noise? Or are these more organised and polite sonic phenomena merely varieties of noise that have been tamed and civilised, and yet still contain kernels of the chaotic, anomalous disturbance of primordial noise? As a radical free agent, how is noise channelled, neutralised or enhanced in emergent cityscapes? As a consumable, how is noise – or lack of noise – commodified?

Such questions are particularly applicable to contemporary forms of music which, based as they are on a variety of noise-making technical machines, necessarily exist in the interface between chaotic, unpredictable noise and the organised and blended sounds of music and speech. Does modern noise seek to lead us to new, post-secular inscapes (as with psychedelia and shoegazer), or defy the lulling noisescapes of processed background muzak with punitive blasts of disorientating, disorderly noise? And why the cult of noise – in term of both volume and dissonance – in which low cultural practices (metal, moshing) meet those of the avant-garde (atonalism, transcendentalism)?

This conference seeks to address the contemporary phenomenon of noise in all its dimensions: cultural, political, territorial, philosophical, physiological, subversive and military, and as anomalous to sound, speech, musicality and information. Possible topics include but are not limited to:

* Psychedelic and Neo-Psychedelic Musics
* Punk and Post-Punk Musics
* Experimental Musics from Avant-Classical to Digital Noise / Raw Data
* Industrial Musics and Cultures
* Krautrock and German Noise
* Shoegazer, Nu-Gaze and Post-Rock
* Noise as Cultural Anomaly
* Noise, Chaos and Order
* Noise and architectural planning
* Noise and digital compression
* Noise Scenes from No Wave to Japan-Noise
* Noise and electronic music pioneers (Delia Derbyshire, Varèse, Stockhausen)
* Noise and Territory
* Sonic Warfare
* Noise and Urban Environments / “Noise pollution”
* Noise and Subjectivation
* Sonic Ecologies
* “White Noise”
* Noise and Political Subversion
* Noise and hearing impairment / deafness
* Psychic / silent noise
* Noise and mixing, particularly in nightclub environments
* Noise in Cinema, Video and Sound Art
* Noise, Appropriation and Recombination
* Noise and Affect

The conference will be organised by the Centre for Communication, Cultural and Media Studies at the University of Salford in cooperation with Islington Mill, Salford and will take place from the 1-3rd of July and will include both an academic conference and noise gigs featuring amongst other groups, The Telescopes and Factory Star and other special guests tbc. Confirmed keynote speakers include rock historian Clinton Heylin, author of From the Velvets to the Voidoids and numerous other works on (post)punk and popular music, Stephen Lawrie of The Telescopes, and Paul Hegarty, author of the recent Noise/Music.

In addition to conventional papers, noise, sound and video art proposals are also welcome.

To participate in the conference please send a 400 word abstract and biographical note to Michael Goddard, m.n.goddard@salford.ac.uk and Benjamin Halligan, b.halligan@salford.ac.uk by 28 February 2010.

Acabamos de saber de esta convocatoria abierta para artistas iniciativa de a thousand plateaus. Toda la información sobre como participar aqui.

Artists, musicians, filmmakers and performers are invited to submit proposals for work in response to the theme ‘noise & capitalism’ for presentation as part of the next 1000 Plateaus.

On Saturday 30th January 2010 audiovisual arts collective Kino-Kult are taking over Havant Arts Centre and hosting a digital potlatch (http://en.wikipedia.org/wiki/Potlach) celebrating audiovisual arts and culture in the region. The event is an open platform to which artists working across a range of mediums are invited to contribute.

Anyone can submit an artwork for this event but you must address the theme “NOISE & CAPITALISM”:
You may be working with digital media, audiovisual installation, site specific, kinetic sculpture, digital photography, live art, performance, music, theatre and related arts.

You may be a youth arts group, a loose collective, solo performer, student, professional it really doesn’t matter.
It can be a work in progress, an existing piece or something you have developed specifically for the event.
There are no rules though you should be prepared to work collaboratively with the other artists involved in staging the event.

Kino-Kult will curate the event and provide stage management, technical services and event marketing. Where possible we will provide technical support, equipment and materials to support you. However the budget is extremely limited and you should be able to provide whatever specialist materials or resources you need to stage or exhibit your artwork.

The following spaces will be available for artists to work in:
- Café/Foyer (multi-projector live performance ambient café culture)
- Theatre/Cinema (live performance and artists films)
- Downstairs Studio (gallery performance installation)
- Upstairs Studio (gallery performance installation)
- Courtyard (performance installation)
- Corridors, lavatories and other miscellaneous spaces (imagination)

Proposal submission forms will be available on the 1000 Plateaus website. Look for the group and you will find all the information you need. If you have questions or want to find out more information contact us via the website

athousandplateaus.ning.com

Venue Location (no point in contacting the venue for info they will just send you to the website).
Spring Arts Centre, 56 East St, Havant, PO9 1BS, 023 92472700
http://www.thespring.co.uk

Comentario publicado en el blog red_robin :: tristan louth-robins’ blog
gracias.

I got hold of this interesting and exciting publication when The Wire posted a notification on their Facebook feed. Noise and Capitalism is a collection of essays examining aspects of improvisation, the obsolescence of genre, globalisation and anti-copyright in relation to noise and capitalism. I must admit I find it a bit difficult to read .pdfs off a computer screen (you won’t see me with a Kindle anytime soon), so I’ve only been able to skim over most of the chapters and digest Csaba Toth’s excellent essay ‘Noise Theory’. Paper is much kinder on the eyes.

The book is essentially ‘free’, with the proviso the publisher requests that you (as artist/musician/writer) send an example of your work in exchange for the .pdf.

I find this mode of distribution another interesting development in relation to Radiohead’s pay-what-you-like for In Rainbows (2007) and the culture surrounding Creative Commons, Copyleft and Anti-Copyright. The book, in terms of its content and distribution, also presents itself as a poignant political statement as the first decade of the 21st Century comes to a close, post-econonic meltdown. It’s also a worthy addition to recent books examining aspects of noise culture (such as Paul Hegarty’s Noise/Music: A History) and of course Attali’s seminal Noise (1985).

The publishers Arteleku describe the book as follows:

This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.[1]

Episodio de programa de radio semanal “Late Lunch With Out To Lunch” conducido por Ben Watson para Resonance Radio (www.resonancefm.com) con comentario sobre el libro “Noise & Capitalism”. Watson participa en el mismo libro.