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i Future Sounds www.pdfgrip.com ii www.pdfgrip.com iii Future Sounds The Temporality of Noise Stephen Kennedy www.pdfgrip.com iv BLOOMSBURY ACADEMIC Bloomsbury Publishing Inc 1385 Broadway, New York, NY 10018, USA 50 Bedford Square, London, WC1B 3DP, UK BLOOMSBURY, BLOOMSBURY ACADEMIC and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in the United States of America 2018 Copyright © Stephen Kennedy, 2018 Cover design: Louise Dugdale Cover image © Stephen Kennedy All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers Bloomsbury Publishing Inc does not have any control over, or responsibility for, any third-party websites referred to or in this book All internet addresses given in this book were correct at the time of going to press The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes A catalog record for this book is available from the Library of Congress ISBN: HB: 978-1-5013-2105-4 ePDF: 978-1-5013-2106-1 eBook: 978-1-5013-2107-8 Typeset by Newgen KnowledgeWorks Pvt Ltd., Chennai, India To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters www.pdfgrip.com v For Gemma Lori & Erin www.pdfgrip.com vi www.pdfgrip.com vii Contents Preface viii Introduction Critical Temporalities Noise and Political Economy Remembering the Future: 1977–2017 Continuous Discontinuity: A Non-Linear History of Noise Bibliography Index 19 57 95 125 155 159 www.pdfgrip.com viii newgenprepdf Preface Future Sounds is a book about time and about history It also explores the possibility of extricating ourselves from the dialectical bind that keeps the audible and the visual separate but related in ever shifting ratio Escaping from this bind, it is proposed, will allow for a more nuanced and inclusive engagement with many of the urgent questions that are present in the digital age By employing the figure of noise, defined as the presence of everything all at once, the strictly linear account of time and historical progression can be avoided In its place will be a multisensory, multitemporal account where established dualisms are forced into ever-closer association if not collapsed altogether Notions of linearity and temporal succession will be juxtaposed with a series of reflections that both challenge and augment Jaques Attali’s thesis that music is a herald and that it precedes that which will later become manifest in the realm of political economy While Attali offers a brilliant historical analysis of music and its significance in terms of critical theory, his is a model that cannot fully account for the complex non-linearity of the contemporary digital age Attali’s model is also unable to reconcile the concerns expressed by a disparate range of theorists who are uncomfortable with the anthropocentric trope that falls back on correlationism as a way of understanding the world as it is, the world as it appears to be and the world as it should be Like most theoretical ventures, this book, in its attempt to correct the failings identified in current modes of analysis, is bound to ask more questions than it delivers answers, but it makes no apologies for that Not least will it question the place of humans in the contemporary universe that vibrates incessantly creating patterns and systems that, while they resolve to calm the ensuing chaos, ultimately serve only to confirm its complexity and unpredictability www.pdfgrip.com Introduction This book sets out to explore the proposition that there exists a realm, or a temporal dimension, where infinite formulations occur and reoccur, creating patterns that can be taken to constitute the entirety of our universe Such patterns are always in motion They are part of an ongoing process that is chaotic and evasive, and as such they can only be taken as constitutive if fixed notions of certainty are brought into question and if distinctions between the real and the virtual, the subject and the object, and between the world as it is and the world as it appears, are collapsed Events in this realm and their perception are not separated by critical distance, but instead operate as a singularity This proposition suggests that patterns occur in such a way that, if understood correctly, can facilitate a new and informed grasp of the unfolding temporal continuum as it is conceived of in contemporary digital environments Supporting this proposition will require a clear account of both existential and historical modes of time Distinguishing between these two modes will allow technology’s impact on the way time is experienced individually and collectively to be gauged, and will also facilitate an assessment of our (humans’ and non-humans’) ability to reliably predict what is yet to come This unfolding temporal continuum can be best conceived of as a sonic realm, or, as a realm composed of noise This is because its evasive mobility resists the fixing of the gaze that is a characteristic of visual methods of analysis The sonic can also serve, according to some, as an early warning system for things as yet unseen In order to assess any such premonitory characteristics, noise, sound and music will enter into complex negotiations with a range of political, economic and cultural assumptions To achieve its aims, the book draws on a range of disciplines to account for the relationship between the digital and the temporal In doing so, it will www.pdfgrip.com 154 www.pdfgrip.com 155 Bibliography Adorno, T W (1993) Hegel: Three Studies, trans S. W Nicholsen London: MIT Press Adorno, T W (1981) Negative Dialectics London: Continuum Attali, J (1977) Noise: The Political Economy of Music Minneapolis: University of Minnesota Press Bachelard, G (2000) The Dialectic of Enlightenment London: Rowman & Littlefield Badiou, A (2005) Being and Event London: Continuum Barker, T (2012) Time and the Digital: Connecting Technology, Aesthetics, and a Process Philosophy of Time Hanover: Dartmouth College Press Barry, R (2017) The Music of the Future London: Repeater Barthes, R (1993) Image Music Text London: Fontana Press Bauman, Z (2004) Wasted Lives: Modernity and its Outcasts Cambridge: Polity Press Benjamin, W (1970) The Author as Producer, http://www.berk-edu.com/ VisualStudies/readingList/06a_benjamin-author%20as%20producer.pdf (accessed 03 January 2018) Benjamin, W (2008) The Work of Art in the Age of Mechanical Reproduction London: Penguin Bergson, H (2002) Key Writings London: Continuum Brassiere, R (2007) ‘Genre is Obsolete’ Multitudes 28 http://www.multitudes.net/ Genre-is-Obsolete/ Brougher, K and Mattis, K (2005) Visual Music: Synaesthesia in Art and Music Since 1900 London: Thames & Hudson Browning, G and Kilmister, A (2006) A Critical and Post-Critical Political Economy New York: Palgrave Macmillan Castelaoc-Lawless, T (2010) ‘Is Discontinuous Bergsonism Possible?’ Agathos An International Review of Humanities and Social Sciences 1(1): 25–37 Cimini, A (2012) ‘Vibrating Colors and Silent Bodies Music, Sound and Silence in Maurice-Merleau-Ponty’s Critique of Dualism’ Contemporary Music Review 31(5–6): 353–370 Cohen, J (2010) Oxford Studies in Metaphysics Vol 5, http://aardvark.ucsd.edu/ perception/sounds.pdf (accessed 01 November 2017) www.pdfgrip.com 156 156 Bibliography Cox, C (2011) ‘Beyond Representation and Signification: Toward a Sonic Materialism’ Journal of Visual Culture 10(2): 145–161 Delanda, M (2005) A Thousand Years of Nonlinear History New York: Swerve Deleuze, G (1991) Bergsonism New York: Zone Books Deleuze, G (2004) Difference & Repitition London: Continuum Deleuze, G (2006) The Fold: Leibniz and the Baroque London: Continuum Deleuze, G and Guattari, F (1987) A Thousand Plateaus: Capitalism and Schizophrenia, trans B Massumi Minneapolis: University Minnesota Press Döbereiner, L (2014) ‘How to Think Sound in Itself? Towards a Materialist Dialectic of Sound’, Proceedings of the Electroacoustic Music Studies NetworkConference Electroacoustic Music beyond Performance, Berlin, June 2014 Duchting, H (2004) Paul Klee painting Music London: Prestel Dyson, F (2008) Silent Theory, Technology, Philosophy in Kroker & Kroker’s Critical Digital Studies: A Reader Toronto: University of Toronto Press Dyson, F (2009) Sounding New Media: Immersion and Embodiment in the Arts and Culture Berkeley: University of California Press Epstein, J (2014) Sublime Noise Baltimore, MD: John Hopkins University Press Ernst, W (2016) Sonic Time Machines: Explicit Sounds, Sirenic Voices, and Implicit Sonicity Amsterdam: Amsterdam University Press Foucault, M (1995) Discipline and Punish: The Birth of the Prison, trans A Sheridan New York: Vintage Goddard, M Halligan, B and Hegarty, P (2012) Reverberations: The Philosophy, Aesthetics and Politics of Noise London: Bloomsbury Grant, J. (2010) ‘Foucault and the Logic of Dialectics’ Journal of Contemporary Political Theory 9(2): 220–238 Grant, J and Matthias, J (2013) ‘Plasticities and Ghosts: Relationships between Stimulus and Memory in Noisy Networks’ Leonardo Music Journal 23: 9–10 Hainge, G (2013) Noise Matters: Towards an Ontology of Noise London: Bloomsbury Harman, G (2002) Tool-Being: Heidegger and the Metaphysics of Objects Chicago and LaSalle: Open Court Harman, G (2010) Towards Speculative Realism: Essays and Lectures Winchester, UK: Zero Books Heidegger, M (1977) The Question Concerning Technology and Other Essays New York: Harper and Row Ihde, D (2007) Listening and Voice: Phenomenologies of Sound Albany: State University of New York Press Ikoniadou, E (2014) The Rhythmic Event London: MIT Press www.pdfgrip.com 157 Bibliography 157 Ingold, T (2000) The Perception of the Environment: Essays in Livelihood, Dwelling and Skill London: Routledge Janus, A (2011) ‘Listening: Jean-Luc Nancy and the “Anti-Ocular” Turn’ Continental Philosophy and Critical Theory Comparative Literature 63(2): 182–202 Kane, B (2012) ‘Jean-Luc Nancy and the Listening Subject’ Contemporary Music Review 31(5–6): pp439–447 October–December 2012 Routledge Kennedy, S (2015) Chaos Media: A Sonic Economy of Digital Space New York: Bloomsbury Kroker, A and Kroker M (2010) http://www.ctheory.net/articles.aspx?id=633 (accessed November 2017) Latour, B (1993) We Have Never Been Modern, trans C Porter Cambridge, MA: Harvard University Press Le Guin, U (1974) The Dispossessed London: Gollancz Lyotard, J-F (2002) Soundproof Room: Malraux’s Anti-Aesthetics Stanford, CA: University of Stanford Press Mauch, M MacCallum, R M., Levy, M and Leroi, A M (2015) ‘The Evolution of Popular Music: USA 1960–2010’ Royal Society Open Science London http://rsos royalsocietypublishing.org/content/2/5/150081 McLuhan, E and McLuhan, M (1988) The Laws of Media: The New Science Toronto: University of Toronto Press Meillassoux, Q (2012) After Finitude: An Essay on the Necessity of Contingency London: Bloomsbury Mininger, J D and Peck, J M (2016) German Aesthetics: Fundamental Concepts from Baumgarten to Adorno New York: Bloomsbury Academic Murakami, H (2003) Hard Boiled Wonderland and the End of the World London: Vintage Nancy, J L (2007) Listening New York: Fordham University Press Nancy, J. L (2012) ‘Jean-Luc Nancy and the Listening Subject Brian Kane’ Contemporary Music Review 31(5–6): 439–447 Nechvetal, J (2011) Immersion into Noise Ann Arbor, MI: Open Humanities Press Nietzsche, F (1967) The Birth of Tragedy, trans W Kaufman New York: Vintage North Whitehead, A (1948) Adventures of Ideas Harmondsworth: Pelican Books North Whitehead, A (1957) Process and Reality New York: The Free Press Olivier, L (2003) ‘The Past of the Present: Archaeological Memory and Time’ Archaeological Dialogues 10(2): 204–213 Reynolds, S (2005) Rip it Up and Start Again London: Faber & Faber Reynolds, S (2007) Bring the Noise London: Faber & Faber Reynolds, S (2008) Energy Flash London: Faber & Faber www.pdfgrip.com 158 158 Bibliography Reynolds, S (2011) Retromania London: Faber & Faber Rojek, C (2011) Pop Music, Pop Culture Cambridge: Polity Ross, A (2012) The Rest is Noise: Listening to the Twentieth Century London: Fourth Estate Sellars, W (1997) Empiricism & the Philosophy of Mind Cambridge, MA: Harvard University Press Sellars, W (2007) In the Space of Reasons Cambridge, MA: Harvard University Press Serres, M (1995) Genesis, trans G James and J Nielson Ann Arbor: University of Michigan Press Shaviro, S (2012) Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics Cambridge, MA: MIT Press Shaviro, S (2014) The Universe of Things Minneapolis: University of Minnesota Press Sterne, J (2003) The Audible Past: Cultural Origins of Sound Reproduction Durham, NC: Duke University Press Sterne, J (2011) ‘The Theology of Sound: A Critique of Orality’ Canadian Journal of Communication 36: 207–225 Sterne, J (2012) MP3: The Meaning of a Format (Sign, Storage, Transmission) Durham, NC: Duke University Press Stubbs, D (2014) Future Days: Krautrock and the Building of Modern Germany London: Faber & Faber Thompson, M (2017) Beyond Unwanted Sound: Noise Affect and Aesthetic Moralism New York: Bloomsbury Thrift, N (2008) Non Representational Theory: Space, Politics Affect London: Routledge Toffler, A (1984) Future Shock New York: Bantam Trower, S (2012) Senses of Vibration: A History of the Pleasure and Pain of Sound London: Bloomsbury Virilio, P (2005) The Information Bomb London: Verso Voegelin, S (2010) Listening to Noise and Silence: Towards a Philosophy of Sound Art London: Bloomsbury Watts, M (2001) Heidegger: A Beginners Guide London: Hodder & Stoughton Welsch, W (1997) Undoing Aesthetics London: Sage Whitehead, A N (1929) Process and Reality New York: The Free Press Witmore, C L (2006) ‘Vision, Media, Noise and the Percolation of Time: Symmetrical Approaches to the Mediation of the Material World’ Journal of Material Culture 11: 267 www.pdfgrip.com 159 Index Abramovic, Marina 124 absence of absolute silence 141 and presence absolute truth abstract art 126 acoustics 15, 16, 21, 43, 49, 147, 148 material past 47 and modernism 51 acoustic space 20 actual reality 22 Adorno, T W 31–2, 60, 67 Negative Dialectics 73 affirmation 28–9 Afrobeat 109 algorithmic models 65, 108, 151 digital economy Ambition 103 analogue 5, 11, 12, 15, 112, 150, 151 music 110 noise 54 sound 131 analogue time 4, 146, 149 antagonisms 31–2, 59 archaeology 2, 47–50, 97 art 10–11, 46, 53, 128–30, 152 abstract act 126 experimentalism 98 and reality 128–9 Artist Is Present, The 124 Attali, Jaques 2–3, 6, 26, 47, 53, 58, 59, 60, 61, 96, 99, 101–5, 107–8, 114, 119, 122, 128, 134, 145, 150 Noise: The Political Economy of Music 10, 57–92 audible past 24 audio imagery 121 audiovisual litany 22, 26, 82, 130–4 avant-garde music 71–2, 80, 85 Bachelard, Gaston 10–11, 23, 108, 139, 140–1, 142, 143 Bach, Johann Sebastian 127 Barker, T 91 Barry, Robert, Music of the Future, The 97–8 Barthes, Roland 134–5 Grain of The Voice 116 Image Music Text 134 Bauman, Zygmunt 124 n.13 becoming 39–40, 140–1, 146 beginnings and ends 16, 26, 29, 36, 39, 46, 49, 53, 82, 99, 119–21, 120, 130, 137, 140 Being 7, 8, 116, 132 Being-in-the-world 116 Benjamin, Walter, Work of Art in the Age of Mechanical Reproduction, The Bergson, Henri 10–11, 23, 29, 127, 139, 140, 141, 142 Essay on the Immediate Data of Consciousness, An 11 Biddle, Ian, Sound Music Affect 16 black/shadow economy 104, 148 body 42, 44, 45, 54, 149 and mind 45, 54, 80, 131, 133 Boulez, Pierre 81 bourgeois capitalism 32 bourgeois consumers 62–3 bourgeois experimentalism 72 bourgeois individualism 63–4 Brandom, Robert 36 Browning, G 153 Brueghel, Pieter, Carnival’s Quarrel with Lent 57 Buzzcocks 98, 100, 101, 103 Cabaret Voltaire 105, 106, 109 Callaghan, James 103 www.pdfgrip.com 160 160 Index Campbell, William F 93 capitalism 63, 69, 73, 79 advanced 78–9 and music industry 75 as repetition 78 Castelao-Lawless, Teresa 141, 142 cause and effect analysis 12, 16, 25, 34, 36, 54, 66, 92, 128, 151 change 74, 118–19, 138 actual and significant 75 constant change 75, 100 continuous or discontinuous nature of 139 musical change changing times 71 chaos 2, 36, 49, 59, 64, 73, 75, 79, 96, 97, 145, 147, 149 and music 73 ordering 2, 20, 30, 59, 116, 125 sonic chaos 57 and subject 40 and time 49 chaotic environment 32, 54, 59, 100, 151 chaotic listening 95 chaotic noise 49, 58, 92, 131, 147 Cinema Music and Wallpaper Sounds 100 classics 72, 112 cloaking technologies 26 Cohen, Jonathan 4, 51–2, 127, 133 cold war, and music 129 Coleman, Ornette 100 colours 52 and time 127–8, 129 combinatorics 69–70, 106, 112, 135 composition 87–92, 104, 109 computer modelling 6, 117 connectivity 13, 14, 20, 81, 110, 114–15, 121, 122, 126, 148 continuity 4, 11–12, 21, 23, 43, 52, 62, 101, 107, 108, 112–13 continuous discontinuity 12, 23, 28, 41, 51, 70, 96, 123 n.1, 139–51 contradictions 27, 30, 31 Cool Britannia 110 correlationism 37, 55, 108, 135–6 cosmology 28, 82, 84, 99, 116, 120, 139, 147 cosmos 3, 15, 21, 72, 136, 137–8 creative forces 122 creativity 5, 92, 107, 108, 126 Crimini, Amy, Vibrating Colors and Silent Bodies Music, Sound and Silence in Maurice-Merleau-Ponty’s Critique of Dualism 44 critical distance 7, 41, 58, 130–1, 134, 147, 152 critical thinking culture and nature 26, 122, 150–1 Curits, Adam, Hypernormalization 97–8 d’Allones, O Revault 90 dance music 109–10 dark matter 148 Dasein (Being) 7, 8, 116, 132 datawave 5, 28, 149 death 85–6, 120, 130 Delanda, Manuel 38 Deleuze, Gilles 13–15, 20, 131 depersonalization 84 Derrida, Jaques 7, 23, 26 de-territorialized meta-city 20 Devoto, Howard 98, 99, 100, 101, 102 dialectics 2, 6–8, 11, 13, 14, 23, 25–32, 34, 36, 41, 42, 46, 49, 54, 57, 60–1, 68, 70, 77, 82, 87–8, 89–90, 92, 97, 103–4, 108, 111–14, 128–30, 133–5, 139–42, 144, 150, 152 difference 14, 40 digital 4–5, 10–11, 15, 21, 54, 68–9, 75, 110, 112, 115, 146–7, 149–51 digital environments 1, 2, 4, 6, 139, 147, 149 digital media 134 digital music 60, 110 archive 97 digital noise 146 digital paradox 2, 68 digital post-political economy 114 digital present 91, 112, 114 digital technology 26, 128 digital temporality 23, 26 digital time 12, 14, 15, 32, 149 digital turn 138, 139 discontinuity 4, 10–12, 19, 21, 23, 43, 52, 62, 101, 108, 112–13, 141 see also continuous discontinuity mode of temporality www.pdfgrip.com 161 Index and reality 142–3 discontinuous Bergsonism 141 discontinuous continuity 151 dissonance 14, 58, 60, 67, 82, 87, 96, 98, 103, 112, 116, 150 Donald, Gerald 111–12 double negation 29 Drexciya 111–12 dualism 33, 40–1, 43–4, 47, 54, 99, 114, 119, 129, 133, 134, 143 audio–visual 54, 133, 134 intuition–intelligence 141–2 seeing–hearing 47 subject–object 7, 9, 33, 35, 36, 132, 135, 138, 139 technology–nature 26 virtual–real 17, 22, 54 duration 11, 75, 143, 146 with melody 11 Dyson, Frances 44, 45, 54, 134 echoing moments 12 Eckel, Cymon 111 electronic consciousness electronic experimentalism 105, 112 electronic instruments 105–6 electronic music 100 elites/elitism 73, 84, 85, 129 embodiment 4, 133 empiricism 33, 35, 36, 55 end of geography (space) 4, 19, 55 n.1 end of history 3, 19 ends and beginnings see beginnings and ends episodes 33–4 Epstein, Josh, Sublime Noise 69 essentialism 39 everything, theory of 83 experimentalism 71–2, 80, 84–5, 105, 106, 109, 110 false problems 153 n.4 Farley, Terry 111 feudalism 63 Feynman, Richard 43 filtering out of elements 47, 125 Ford, Henry 122 Fordlândia 121, 122 161 formalism 99, 101 Foucault, Michel 2, 30, 31 free jazz 89, 100, 110 Fukuyama, Francis 3, 19 future music 81, 93 n.8, 129 Future, The 105–6 fuzzy logic 68 genealogy 2, 31, 134 geographical locations, connections among 20 Girard, Renee 58 Glass, Philip 84 global time 19–20 Godard, Vic 102–3 Gottfried Wilhelm, On the Radical Origination of Things 60 Grant, Jane 149 Grant, John 31 Gristle, Throbbing 109 Guins, Ursula Le, Dispossessed, The 10 Hainge, Greg 3, 13, 34, 103, 148–9 Harman, Graham 5, 55 n.4, 114–20, 115, 118, 119, 120, 136, 148 harmony 29, 40, 58, 60–1, 67–9, 73, 82, 90, 112, 150 hearing 24–5, 27, 44, 50–1, 117, 130–3 affect 132–3 concerned with interiors 131 event experience 132 immerses its subject 131 and living world 132 physical contact with the outside world 131 primarily temporal sense 133 as a sense that immerses us in the world 133 sound come to object 131 spherical nature 130–1 subject nature 132 Hegarty, Paul 145–6 ‘Chronic Condition, A: Noise and Time’ 145 Hegel, Georg Wilhelm Friedrich 36, 60 Heidegger, Martin 7–9, 23, 37, 38, 39, 90, 91, 117, 118, 119 www.pdfgrip.com 162 Index 162 Heller, Pete 111 hesitation 77, 143–4 hip-hop 109, 110 house music 110 human primacy of 36 human beings 39–40, 51 human consciousness 51 Human League, The 106 hypersonic silence 148 hypersonic sound 149, 152 imperial universality 81, 82 inferentialism 36 information technology 106 inside and outside of system 69–70 instantaneous communication 10, 22 intertextual combinatorics 135 intuition and intellect 101 invisible worlds 54 jazz 89, 100, 110 Johannsson, Johann 116, 120–1, 122 Arrival 116 IBM 1401: A Users Manual 116–17 Joy Division 123 n.4 Kandinsky 126, 128 Kane, Brian 137, 138 Kant, Immanuel 7, 36, 55 Kaoss Edge 112–13 Kilmister, A 153 Kirk, Richard H 105 Klee, Paul 46, 125–30, 127, 128, 129, 133–4 black watercolours 129 rhythmic system 129 knowledge 3, 4, 24, 32–4, 36–7, 43, 44, 52, 69, 84, 91, 136, 142, 147–8 Kokoschka, Oskar 71 Kraftwerk 105 Krautrock 109, 110 Kroker, Arthur 149, 152 Codedrift 148 language 33, 34–5, 37, 38, 40, 54, 135 Latour, Bruno 49, 51 law of the polar unity of opposites 27–8 Lefebvre, Henri 2, 153 leftism 105 Le Guin, Ursula 20 Leroi, Armand M 107 Levy, Mark 107 linearity 23, 32, 48, 49, 57, 59, 62, 66, 98, 108, 112, 119, 128, 133, 134, 142, 147, 150, 151 linear time 48 listening 9, 11, 24, 25–6, 32, 44–5, 48, 82, 96–7, 103, 112, 116, 120, 138, 146–7 Loos, Adolf 71 Lpoatin, Daniel (Oneohtrix Point Never) 113, 115 Garden of Delete 112, 113, 114 Lydon, John (Johnny Rotten) 102 Lyotard, Jean Francois 29, 120 Soundproof Room 113, 119 MacCallum, Robert M 107 Mahler 72, 73, 125 Mallinder, Stephen 105 manifest image 33, 39, 40–1, 42, 43, 46, 55, 67, 114, 119, 132, 135 man–technology interface 117 Marsh, Ian Craig 105 Marxism 65 Marx, Karl 36 mass music 81, 85 mathematical nature of representational model 67 mathematical realm of disconnected objects 136 mathematical representations of reality 65 mathematical (measured) time 75 Mauch, Matthias 107 May, Derek 110 Mayes, Steve 111 McLuhan, Marshall 43, 130 McNeish, Peter 98 meaning 5, 12, 26, 55, 66, 76, 82–3, 85–6, 88, 91, 103, 116, 134–8 meaninglessness 20, 26, 43, 58, 59, 62, 65, 66, 70, 78, 81–3, 85, 111, 112, 114, 116, 122, 144, 148 mediation, problem of 36 meeting and being met interface 116–17 www.pdfgrip.com 163 Index Meillassoux, Quentin 119, 135 melody 11, 93 n.8, 150 and duration 11–12 mental entities, existence of 35 Merleau-Ponty, Maurice 43–5, 46, 53, 54, 133 metaphysics 142 of presence 23–4 metropolitics 20 mind and body 45, 54, 80, 131, 133 minimalism 106, 124 n.11 modernism 19, 25, 49, 51, 132 notion of succession 122 modern music 3, 46, 75, 85, 125–6 money, and music 61, 65, 79 Morley, Paul 100 movement 29, 128, 147, 151 Mozart, Wolfgang Amadeus 62, 125, 127, 129 MP3 5, 26, 134 multi-temporality 3, 32, 50, 68, 98, 112, 119, 121, 122, 146, 150 Murakami, Haruki 48 Hard Boiled Wonderland and the End of the World 48, 146 music 10, 11, 15, 32, 46, 53, 55, 58, 61, 62, 72, 80, 104, 125, 150 application of science and mathematics to 67 and art 153 code of 60 as commodity 63 as complex sounding of infinite referrals 122 economic commodity 63 economic realm of exchange 64 experimental music 84, 106 forward thinking 72 heraldic feature of 72–3, 96, 122–3, 130 hits 78–9 labour of 65 new forms of expression in 69–70 and noise 81, 82 noise-free information 77 and order 69 as organization of noise 57 and painting 46, 130 163 and political economy 10, 57–92 publication 64 relational free formation of 91 repetition 74–87 sacrificial form, as noise 66 as simulacra 59 and social order 60 supply and demand 78–9 theatrical performance 64 thinking through 66, 68, 69, 122 universality 82–3 musical qualities, systematic coding of 128 musical-time 75 music industry 69 economy of 76 ‘Myth of the Given’ 33, 37, 41 Nancy, Jean Luc 3, 9, 88, 99, 136–8, 146–7 nature and science 67 and technology 26 negation 6, 28–30, 42, 84, 86, 139 negative drive 100 neural networks 68 new/newness 15, 29, 38, 40, 46, 98, 118–19, 139, 140 as a radical break 11 unrelenting nature of Newton, Adi 105 Newtonian universalism 139 Nietzsche, Friedrich 127 1978 Now 103 1979 Now 103 noise 6, 7, 8, 10, 12, 14, 29, 31, 32, 36, 40, 50, 53, 58, 59, 83, 86, 96, 100, 102, 115, 118–19, 132, 140, 141, 143, 145, 146, 152 and Being 12 calming 27, 58, 61, 73, 116, 125 characteristics coded and controlled 86 and continuous discontinuity of digital time 12 as disagreeable 12 as disordered correlation of other things 58 due to disturbance 13 as electromagnetic/political field 13 www.pdfgrip.com 164 Index 164 figure of 54, 55, 67, 88, 104, 134, 145 as historical phenomena 23–4 as human–nonhuman interactions 51 information theory 12–13 mathematical modelling 144 multifaceted realm 66 and music 57 neuronal noise 148 newness and innovation 98 post-political economy as power and domination 12 production of ‘unexpected things’ 90 quantum noise 144–5 reduction of as resistance 2–3, 13, 43, 47, 103 scientific validation 144 and senses 51–2 as signal 59 as sonic chaos 57 and sound, distinguishing between 6–7 as sound of things falling apart 60 as temporal phenomenon thinking through 122, 134, 139 and waste 14, 28, 86, 95, 114 as wave and particle 147–8 non-linearity 5, 6, 23, 32, 34, 50, 54–5, 62, 65, 68, 81, 90, 119, 122, 136, 151, 153 non-linear temporality 50, 54, 119, 153 non-linear time 122, 136 Oakey, Phil 106 objects 5, 24, 110, 117, 119, 122, 135, 148 present-at-hand description 117–18 and subjects (see subject–object) observing music 67–8 occult and mystical societies 71 Olivier, Laurent 50 optical–sonic motif 21–2 orality orchestration 84, 90, 117 classical 112 order 36, 37, 64, 67, 68, 73, 133, 135 organizing of elements 73, 125 originary moment 41, 130 Pagel, Mark 108 painting 46–8, 57–8, 125–30 parallel universes 48, 144 Péguy, Charles 128 pendulum 11 perceptual coding 26 phonic, defined 153 n.6 PIL 103 planetary grand scale optics 21 political economy 6, 20, 73, 92, 101, 126, 128, 132, 150 history of 61 of music 10, 57–92 periods of 93 polyphonic fugue 127 pop music 16, 76, 80, 85, 107–8 popular music 78, 89–90, 107–8 populism 72 post-human 41, 51, 92, 112, 115, 139 postmodernism 135 post-rock 109, 123 n.6 power, and noise 31 power–resistance 30–1 precarity 103 prediction 22–3, 67, 144–5, 150 predigital 140 prefigured 24, 64, 73 Prochnick, George 12–13, 27 promises, and noise 71 psychedelia 75, 98 psychological nominalism 33 punk 98–9, 100, 101, 102, 105, 107 pure sensation 45–6 quantum noise 144–5 quantum thinking 141 Quine, Willard Van Orman 33 radicalism 104, 105 rationalism 8, 25, 33, 34, 55, 83, 131 reality 34, 43, 79, 107, 118, 142 real world 14, 22, 54, 132, 136 records/recording technology 74, 110 repetition 14, 16, 23, 52, 72, 73, 74–87, 104, 110 representation 61–73, 74 of critique 71 and performance 73 representationalist 36 www.pdfgrip.com 165 Index representation-as-compression resistance 16, 34, 100 and difference 14 as difference 16 and noise 31 strategies 15 resonance 14, 15, 96, 98, 103, 110, 116, 134, 137, 140 rest, returning to 13 retromania 97 Reynolds, Simon 95, 101–2, 106 Rhodes, Bernie 103 rhythm 69, 119, 126, 127, 128, 129, 151, 153 of discontinuity divisibility of 129 figure of 127 and noise 115–16 pulse 137 rhythmic pulse 137 Richter, Max 114–15, 124 Sleep 114, 124 rock n roll 102–3, 105 Rojek, Chris 150–1 Pop Music, Pop Culture 150 Romain, Jules 121 Donogoo Tonka 113, 121, 124 n.10 Romains, Jules 124 romanticism 101, 129 Rorty, Richard, Empiricism & The Philosophy of Mind (introduction) 34 Ross, Alex 71–2, 128 Rest is Noise, The 70 sacrificing 57–61, 66 scepticism 75 Schaeffer, Pierre 5, 138 Schiele, Egon 71 Schoenberg, Arnold 73 twelve-tone system 128 scientific image 33, 40–1, 42, 43, 46, 55, 67, 114, 119, 132, 135 scientism 81, 88 self 137 fear of 58 as a process of critical distancing 58 self authenticating non-verbal episodes 35 165 Sellars, Wilfrid 22, 33, 34, 35, 36, 37, 40, 41, 42, 43, 45, 47, 54, 55, 58, 114, 119, 130, 131, 132, 135, 142 model of language as a product of evolution 39 ‘Myth of Jones, The’ 35, 37 In the Space of Reasons 38, 40 senses 51 senses, historicity of 25 Serres, Michel 47, 49, 84 Sex Pistols 97, 98 Shaviro, Steven 3, 39, 114, 115 Universe of Things, The 117 Without Criteria 38 Sheffield 105 Shelley, Pete (Peter McNeish) 98, 99, 100, 101 Shoegaze 109 Shot by Both Sides 101–2 signals 145 signal(s) 148 silence 85, 86, 135 retreat into 118 Silver, Nate 144–5 Signal and Noise 144 simultaneity 20, 54, 130 singularity 1, 14, 20, 21, 27, 33, 48, 136 situationism 107 Sky Yen 100 Smith, Patti 102 sonic defined 153 n.6 environment 58, 72 events, and time 12 as a means of understanding digital temporality 23 sonic economy 4, 15, 20, 38, 64, 65, 66, 90, 99, 106, 109, 126, 127, 147 sonic realm sonic thinking 11, 138 sound 10, 15, 32, 41, 44–5, 47, 49, 52, 117, 136–7 as affective rather than intellectual 46 as an object and a domain of thought 24 archaeology 49 based on colours 127 culture 25 www.pdfgrip.com 166 166 Index as the emphasis on presence and absence as historical phenomena 23–4 history of 26 as human, cultural and technological 26 as human perception of noise 57 as human phenomenon 27 as a model for thinking something new 10 objects of the past 50 reproduction technologies 25 series of 11 and sound-based technologies 25, 134 thinking through 122 transient 49 spatiotemporal realms Specials, The 106 speculative realism 37, 54, 114, 115, 118–19 speed, and temporality 4, 17, 20, 21, 70, 74–5, 92, 115, 151 Spinoza 42 Spiral Scratch 98, 100 state of mind 43, 45 states 33–4 stenography 74 stereo-reality 22 stereoscopic–phonic approach 22–3 stereoscopy 41, 42, 47, 119 Sterne, Jonathan 5, 23–5, 26, 27, 130, 133, 134, 145–6 Audible Past, The 24, 51 MP3: The Meaning of a Format (Sign, Storage, Transmission) 134 stillness 13 Stinson, James 111 stories 124 n.13 subjective listener 146–7 subject–object 9, 33, 35, 36, 132, 135, 138, 139 Subway Sect 103 Summer, Donna 105 survivalism 52 techno 110, 111 technology 23–4, 25, 51, 92, 152 cloaking technologies 26 information technology 106 and man, interface 117 of music 75 and nature, dualism 26 new mutation in 105 and rationality records/recording technology 74, 110 of sound 25–6, 134 and time temporal dualism 119, 120 temporality altered spatiality 21 continuous mode (see continuity) digital temporality 23, 26 discontinuity mode (see discontinuity) multi-temporality 3, 32, 50, 68, 98, 112, 119, 121, 122, 146, 150 and music (see music) and noise 4, 34, 37–8, 66 (see also noise) non-linear temporality 50, 54, 119, 153 and sound (see also sound) and speed 4, 17, 20, 21, 70, 74–5, 92, 115, 151 temporal non-linear phenomenon noise 55 temporal transition, phased nature of 62 tempos 62, 75, 115, 116, 119 Thalheimer, August 28, 29, 30, 139, 140 Introduction to Dialectical Materialism 27 theoretical music 82–3, 84–5, 126 Thompson, Marie 55 Sound Music Affect 16 thought and reality 35 Thrift, Nigel Tieck, Ludwig 126 time 4–5, 10, 19–20, 54, 75, 119, 120–1, 126 analogue 4, 146, 149 and chaos 49 and colours 127–8, 129 compartmentalized 49 digital 12, 14, 15, 32, 149 existential and historical modes of global time 19–20 as hesitation 143 www.pdfgrip.com 167 Index immersion in 12, 44, 68 as infinite vibrating potential 143 linear time 48 mathematical (measured) time 75 multifaceted 91 musical-time 75 of noise 120 non-linear matrix of decay and reformation 32 non-linear time 12, 122, 136 as a series of challenges and ruptures 11 and space 3–4, 10, 15, 21, 24, 47, 49, 91, 100, 111–12, 115, 121 and technology world-time 21, 75 time intervals 21 timespace 47 Toffler, Alvin 110 traditional instruments 90 Trakl, Georg 71 truth 91 Underground Resistance 111 universal Being utopian 63, 79 vacuum 118, 119, 122, 148 vibrating energy 116 vibrating wave–particle event 58 vibration 13, 45, 50, 120, 128, 131, 132, 138, 147 and noise as natural remnants 26 Vienna 71–2, 73 violence 59 violent chaos 58 Virilio, Paul 20–3, 53, 75, 91, 115 Information Bomb, The 3–4, 19 virtual city 20 virtualization 21 virtual reality 22 virtual world 14, 22 visible world 54 vision/visual 50–1, 53, 54 atrophy and death 132 167 concerned with surfaces 131 directional nature 130–1 distances from outside world 131 event perception 132 intellect 132–133 objective nature 132 perceptive 131 primarily spatial sense 133 as a sense that removes us from the world 133 travels to its object 131 Voegelin, Salome 47 voices 24, 25, 55, 58, 86, 90, 104, 134–5, 142 volkisch movement 8, 92 Wackenroder, Wilhem Heinrich 126 Strange Musical Life of the Composer Joseph Bergllinger, The 127 Wagner, Richard 73, 93, 97 Ware, Martyn 105 waste material 148, 152 Watson, Chris 105 wave–particle dualism 23, 43, 143, 149 Weatherall, Andrew 111 Weininger, Otto 72 Welsch, Wolfgang, Undoing Aesthetics 50 Wertheimer, Max 73 Whitehead, Alfred North 3, 5, 9, 39, 40, 74, 107, 115, 118, 131, 136, 148 Adventures of Ideas 107, 139 Wilson, Tony 123 Witmore, Christopher L 46–7, 48–9, 49–50, 51, 54, 58, 82, 97, 123 Wittgenstein, Ludwig 33, 35 word 55 world 34 as hit parade 79 as it appears (virtual world) 14, 22 as it is (real world) 14, 22, 54, 132, 136 world music 109, 123 world-time 21, 75 writing 23–4 Xenakis, Iannis 81 www.pdfgrip.com www.pdfgrip.com ... achieve He raised instead the possibility of the end of space, or of the end of geography, and of a small planet ‘held in suspension in the electronic ether of our modern means of telecommunication’... exploration of the notions of speed and time as they are developed in the work of Paul Virilio in his book The Information Bomb It will then move on to examine the stereoscopic worldview of the American... Being Their approach was prefaced on the instability of the written word as key to the formation of a mode of enquiry that did not rely on the division of reality into the world as it is and the
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