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Related: sound - noise music - silence


In general usage, noise can be considered data without meaning; that is, data that is not being used to transmit a signal, but is simply produced as an unwanted by-product of other activities. In Information Theory, however, noise is still considered to be information.

When speaking of noise in relation to sound, most often it is defined as meaningless sound of greater than usual volume. Thus, a loud activity may be referred to as noisy. However, conversations of other people may be called noise for people not involved in any of them. --http://en.wikipedia.org/wiki/Noise [Apr 2005]

Into Battle With the Art of Noise (1983) - Art of Noise

Into Battle With the Art of Noise (1983) - Art of Noise [Amazon.com] [FR] [DE] [UK]

The Art of Noise was a pop group formed in 1983 by producer Trevor Horn, music journalist Paul Morley, and session musicians/studio hands Anne Dudley, J.J. Jeczalik, and Gary Langan. The group's mostly instrumental compositions were novel and often clever melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-century revolutions in music, the Art of Noise was initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for their innovative use of electronics and computers in pop music and particularly for innovative use of sampling. The name of the group alludes to an essay by noted futurist Luigi Russolo. --http://en.wikipedia.org/wiki/The_Art_of_Noise [Jan 2006]

See also: sampling - art - futurism - 1983 - sound art

Subculture as noise [...]

Subcultures as noise: a metaphor that possesses a deep, romantic and poetic resonance for many scholars.  The heroic rhetoric of resistance, the valorization of the underdog and outsider, and the reemergence of a potentially political working-class consciousness are all embedded in discourses that have shaped the theorization of subcultures in the past twenty years.  The work of Dick Hebdige, Stuart Hall and others connected with the Centre for Contemporary Cultural Studies, University of Birmingham, through which these conceits evolved, remain a backdrop for many contemporary theories of subcultures.  Studies such as Subcultures: The Meaning of Style and Resistance Through Rituals drew their theory from such diverse sources as Gramsci's theories of hegemony, Levi-Strauss's notion of bricolage and homology, Eco's semiotics and Marx's theories of class, ideology and commodity fetishism.   The sartorial splendor of Teds, Mods, Rockers and Punks became emblematic of a "semiotic guerrilla warfare" that took objects from the dominant culture and transformed their everyday naturalized meaning into something spectacular and alien.  Style became a form of resistance. -- Geoff Stahl, 1999, Still 'Winning Space?': Updating Subcultural Theory via http://www.rochester.edu/in_visible_culture/issue2/stahl.htm [Apr 2005]

Noise: The Political Economy of Music (1977) - Jacques Attali

Bruits: essai sur l'economie politique de la musique/Noise: The Political Economy of Music (1977) - Jacques Attali [Amazon.com] [FR] [DE] [UK]

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