Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining the epistemological regimes such work operates in. At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement. This will be examined with reference to a range of examples highlighting the eclecticism of industrial musics including Throbbing Gristle’s 20 Jazz Funk Greats and Cabaret Voltaire’s Red Mecca.Ī critical commentary that presents and contextualizes a film and video making practice spanning three decades. The worlds of industrial and noise music are therefore concerned with modes of environmentally situated world forming, even as they transcend identifiably geographical locations in unpredictable crossings of appropriated forms, styles and aesthetic procedures.
This is both in the sense of how seemingly chaotic noise can be formed into specific soundworlds, and the ways in which this is expressive of specific, often post-industrial, environments. This paper will argue that industrial noise musics are ‘world musics’ in a more fundamental sense, in that they investigate noise phenomena as essentially prior to stable sounds and significance, and are therefore concerned with world forming. While noise and industrial musics have typically been excluded from considerations of world music, this is somewhat surprising considering the strong elements of exoticism and eclecticism, that can be found in the music of Throbbing Gristle or Cabaret Voltaire, for example, or more recently William Bennett’s Africa-noise project, not to mention the pioneering of independent modes of global distribution.
Only transactions exceeding $115,000 are listed.Exploring the Paradoxes of Industrial/Noise Music Worlds Building on published research into noise scenes, specifically those associated with noise musics on the fringes of Flying Nun in New Zealand and the New York No Wave scene, and my current project that is a cross cultural mapping of the music scenes in Manchester and Porto Alegre, this paper will explore the worlds of noise music beyond locally specific music scenes.
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