optimal (fail) grip
Updated: Jun 1
what happen in between two objects?
how does a simbiosis works when the gathering it´s close to exist but always run away?
To what extent is it possible for them to aperehend each other?
I started to think about those problematics around objects in sound. How can two objects can coexist within a sonical event, we can hear sounds together, we can hear them coming from diferent points, we can hear them mix each other, ruin each other, being destroyed. But they never get together in fact, there is always an optimal grip between them.
Noise has this particular way of performing sounds, it makes a big effor to blend them. Using effects, ways of producing sound, situations, performatic senses, noise it´s a melting mix of sound. Noise contains in itself frequencies organized in ways that we cannot understand and categorize in the same way that we categorize, for example, tones. Or in the same way we can categorize other "noises"like, the sound of the wind, the sound of a scream, the sound of a broken glass. So noise has different degrees of categorization, but at the end, there is a much more idealistic concept of noise, in wich we think about noise as a uncategorized scheme, free of labels and tags. Where is that noise
? We can think imagine in our heads how white noise sounds without even listen to it, we can think in a label or type of sound that it´s so radical on it´s behavior that blends lots and lots of frequency in itself.
When Luigi Russollo wrote "the art of noise" and talks about noise as the most destructive force in the world of art and as the avant garde movement that define a lot of music that it was about to be listen. Machines were new, really new and they were creating a full new concept of life, landscape, bodys and listening. So by taking the machines to use them as a way of think sounds in art (sounds in art were music sounds) i think it was a tremendous step, redefining machines as a way of recistance of a passive act of beign part of a greater machinery.
Our listening as grown a lot and machine noises now are part of our daily life, they enter in our homes, in different volumes and frequencys. We carry noise with ourselves in our devices, in our cars and motorbikes. Everytime we move in plain or train we create big amounts of noise, we are constantly invading and beign invadesd by noises. So noise in art it´s not anymore a gesture of revolt. At least in the categorized sense of noise, when we can think of "noises" (as white noise, as glass breaking, as a car engine, as wind noise) almost as a as foley artist with a labeled sample pack thinks. We think in recogniceble noises, but there is a paradox, because noise it´s an unrecognicible sound that contains lot of frequencys in it.
Noise in art, as a bigger category it has the hability of
always try to scape.