tagged w/ merzbow
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"Full with Noise,..." is about noise music, specifically the version that has come to be called Japanese Noise -- itself composed of many different strands. The first half deals with the question of noise. What is it, whose is it, and how can we think about it. Also, how does noise inflect our thinking, rather than being an object; at what point does noise lose its noiseness and become meaning, music, signification? Or -- is there even a point where noise can subsist? Mostly, the text below takes the view that noise is a function of not-noise, itself a function of not being noise. Noise is no more original than music or meaning, and yet its position is to indicate the banished, overcome primordiality, and cannot lose this 'meaning'. Noise, then, is neither the outside of language nor music, nor is it simply categorisable, at some point or other, as belonging exclusively to the world of meaning, understanding, truth and knowledge. Instead, noise operates as a function of differance. http://www.makeahistory.com/index.php/album-rewievs/42968-full-with-noise-theory-and-japanese-noise-music"Full with Noise,..." is about noise music, specifically the version that... more
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worrg
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added this
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1 year ago
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Merzbow was born in Tokyo in 1981, the bastard son of Masami Akita. Inspired by Dadaism and Surrealism, Akita took the name for his project from German artist Kurt Schwitters' pre-War architectural assemblage "The Cathedral of Erotic Misery" done in his "merz" style-- a confluence of the organic and the geometric. "Merzbau" referred to his houses. Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary Avant-garde collages, so too would Akita challenge the contemporary concept of what is called music http://www.makeahistory.com/index.php/album-rewievs/39119-the-beauty-of-noise-merzbow-free-cdsMerzbow was born in Tokyo in 1981, the bastard son of Masami Akita. Inspired by... more
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worrg
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added this
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2 years ago
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