Wednesday 18 May 2022, 8pm
Coherence, predictability and order are well-known and related concepts which have been paramount to the statisticoscientific ethos of the 20th century. As we enter the new millennium it has become more apparent that chaos, unpredictability and, particularly, noise,are not simply the 'disorganized' counterparts to these notions but actually harbor generative conceptual means to move beyond this elusive diametric opposition. In the 21st century, amidst a cascade of upheavals and crises in the ecological, economic, social, and aesthetic spheres, and as we move further into a digital, automated, hyperconnected paradigm, the meaning of noise has begun to be radically altered again and urgently demands to be rethought.
If 20th century noise was a centrally broadcast symphonic maelstrom, 21st century noise is a user-generated cacophony that has amplified existing forms of exclusion and exclusivity. Noise in music and sound art both expresses this situation and enacts resistance to it. We propose a diagram-making workshop as an open door into noise’s multidisciplinary reinterpretation. In the evening performance the NRU will collectively improvise a series of explanations and sonic (dis)compositions based on the diagrams.
S. de Jager is S. de Jager is S. de Jager is S. de Jager, see: S. de Jager.
Cécile Malaspina is the author of An Epistemology of Noise (Bloomsbury, 2018) and the principal translator of Gilbert Simondon's On the Mode of Existence of Technical Objects. She is program director for Programme at the Collège International de Philosophie, Paris (Ciph), and visiting fellow at King's College London, at the departments of French & Digital Humanities. She sits on several editorial boards, (Ciph @ Presses de Paris Nanterre, Rue Descartes, Angelaki: Journal of the Theoretical Humanities; Copy Press; and is currently a guest editor at Nature: Humanities and Social Sciences Communications). She obtained her doctorate in epistemology, philosophy and history of the sciences and technology from Paris 7 Denis Diderot.
Mattin is an artist, musician and theorist working conceptually with noise and improvisation. Through his practice and writing he explores performative forms of estrangement as a way to deal with structural alienation. Mattin has exhibited and toured worldwide. He has performed in festivals such as Performa (NYC), No Fun (NYC), Club Transmediale (Berlin), Arika (Glasgow). In 2017 he completed a PhD at the University of the Basque Country under the supervision of the philosopher Ray Brassier. Along with Anthony Iles he edited the book Noise & Capitalism (Kritika/Arteleku 2009). In 2012 CAC Brétigny and Tuamaturgia published Unconsitituted Praxis, a book collecting his writing plus interviews and reviews from performances. Anthony Iles and Mattin are currently in the final stages of editing the volume Abolishing Capitalist Totality: What is To Be Done Under Real Subsumption? (Archive Books). Mattin is part of the bands Billy Bao and Regler and has over 100 releases in different labels worldwide. He is and currently co-hosting with Miguel Prado the podcast Social Discipline. Mattin took part in 2017 in documenta14 in Athens and Kassel. Urbanomic has just published his book Social Dissonance.
Inigo Wilkins is a writer and lecturer (CalArts, New School for Research and Practice) working across many disciplines: sonic culture, cognitive science, philosophy, political economy and finance. He is co-director of the online journal Glass Bead, his forthcoming book is called Irreversible Noise (Urbanomic), and he has published work in Construction Site for Possible Worlds, Litteraria Pragensia, Mute Magazine, and Zweikommasieben.
Miguel Prado is an artist and Senior Lecturer in Philosophy at UWE. His main work resides at the intersection of philosophy, sound art, science & technology. He responds to the technoscientific and social conditions around the notions of control, uncertainty and information theory. He researches the problems of the metascientific and ideological foundations of diverse projects of prediction and control of uncertainty. From algorithmic surveillance back to cybernetics and how these render noise “informationally heretical”.
Martina Raponi is an Italian writer and artist based in Amsterdam, researching noise and complexity.
Martina published a book on noise, «Strategie del Rumore. Interferenze tra Arte Filosofia e Underground» (Milano, Auditorium Ed., 2015). She is the co-founder of Noiserr, an interdisciplinary research group focused on sound, active since 2017 in Amsterdam (Butcher’s Tears) and Rotterdam (WORM). Together with artist [M] Dudeck, Martina founded the Ansible Institute, a transitory speculative fiction laboratory. She is board member of the RC51 on Sociocybernetics at the ISA, art theory tutor at the Willem de Kooning Academy, and member of the NRU (Noise Research Union). She is working on her second book in collaboration with the Institute of Network Cultures, Amsterdam.
She presented her research and exhibited, performed, presented works, and facilitated workshops at STRP Festival, Eindhoven (NL); Sonsbeek, Arnhem (NL); WORM, Rotterdam (NL); Extrapool, Nijmegen (NL); MAXXI Museum, L’Aquila (IT); Live Arts Week, Bologna (IT); Unsound Festival, Krakow (PL); aqb, Budapest (HU); Zentrum für Netzkunst, Berlin (DE); westwerk./Hamburg Maschine, Hamburg (DE), Casa del Lago UNAM, Mexico City (MEX), among others.
