Post:Noise is the umbrella term (it is not exactly a genre in the way that no ()holistic non-totalizing work can ever truly be classified in a codified ‘genre’) that I use to define my sonic and video/spectacle work. It is an application of thoryvology into the arts.

Briefly, it is a category that describes work undertaken with the received methods and practices of Noise but with goals beyond those most commonly associated with Noise. It does not seek to be loudest, most abrasive, or any other appellation of furthest from the norm (cf. Attali). Noise is sufficient in that respect and the work of noise artists and noisicians continues to pursue those ends. Thoryvology, and thus post:noise, recognizes the arbitrary nature of boundaries and lines of demarcation and does not apply its lines of flight in those directions. Post:Noise does not seek the fringe but embodies it, does not seek to alienate but is alienated.

The OED (the prime record of this bastard tongue) has 22 separate definitions for ‘post.’ This post will be an effort in intentional cutup contextomy (a thoryvological research method), mining from those 22 definitions of ‘post’ and the two for ‘noise’ an approximation of the concept of post:noise (postnoise, post/noise, post-noise, &c).

Life in the physical world less its core and is relatively cool way Senses relating to sound or of the brain any of the set upright ground for various purposes occurring or existing after as a make remarks or comments Strife contention wall or other barrier cancellation of up or consume a considerable part in mood in a manner perceived of a signal interfere with or times in haste to start on out of a place to say time of the actual sucker attaches a lack of zealous support relaxed time or order to sift or a quarrel to achieve general notoriety points selectively reducing a device which influenced or informed by every cultural or renown without display or ostentation the termination pulse progress is no the brain of the brain in places along similar messages in ancient occurring following an apocalypse shaped or off course unacceptable in the time an attack resulting from inflammation resulting of dissonance or inharmonious feedback that education rejects some of the more a journey time at which a special payment rejecting traditional notions in materialistic attitudes or values associated with or make available disadvantageous position summon report record or list by name meaning pay or provide trample pound a phase of discourse operating after relating to waste generated designating a of something off the marked route, human existence following or reacting to maintain to imply mention in passing relating to or designating acceleration occurring related theoretical approaches exhibiting a cultural important end of the first year result of the point in a after attending designating or relating to act entry in a ledger) with later than following since Referring to midday typified by or characteristic of deliberately for use in various momentarily swift angelic messenger worth occupying a is experienced after the cessation of time or society no longer later the auditory apparatus situated or occurring or showing awareness the fall of the importance or prevalence of the to be pleasant or melodious to information irrelevant or superfluous information distracts to be sounded produce or supply the passage falls below threshold value milieu characterized by a decline in with a wooden implement Subsequent to by voices shouting outcry various kinds the environment a radio emission from after (flawed transaction or dispossession) suitable written word existing after metamorphosis occurring event or movement before after infection from an episode of inadequate supply (specified) position a place of duty or experienced after the end of (later also of metal) Now rare or dim occurring or undertaken after duty responsibility) deflect pass off from as overdue or missing to display by name as having failed publicly as a state which exists or shift designating, or characteristic of a behind the ear behind or below reducing output without triggering unwanted change the disturbance caused by this disturbance Scandal controversy fuss to cause a the sun order to improve the decline of the importance of having (boundary marker inanimate, unresponsive, stupid whipping obscure a signal distortions or additions the part which supplies nerves of oneself postpone defer or delay push make known, advertise bring before the hand over transfer or shift (a random or irregular disturbances not part which no longer has fusion at to receive one’s comeuppance to use utter (prophecy after the event eternity mind following a decline or failure beyond the balanced state of climax the strategic position taken up or mankind a circle of time or loud, harsh, or unpleasant to pretend the brain beyond the stigma fissure which interfere with the transfer of is characteristic sound of any kind subsequent to a convulsion having undergone the time of transition designating or itself to its host situated behind time or place after such contact notice and comment talk much or tavern was kept to be frustrated up to date inform with reflexive as characteristic of the time immediately be responsible for debts publicly list exist or after the end of on which the reckoning at a stupid or contemptible statement or idea compare slightly earlier style abstract advocating following the dissolution or collapse of occupy a strategic position intoxicating beverage of the sounds produced in this affected by forces human body and longer tenable no longer strong adherence unwanted line or surface (imaginary) joining some other state of the brain caused by sounds, discordancy disturbance made after the cosmos has ceased to through an aperture or slot bring loudly about a thing Nonsense foolishness alternate sheets the first such call disgrace to advertise publicly no longer performed or applied after the emergence refine preoccupied with the past after succession at which development has continued sends an electrical signal to halt quality outcry to cry out drive public expose to ignominy obloquy or sounds produced in this way any stir become the object of general.

 That explains it, right?

sonic / filmic / liminal

these are not good work.

or, I am not in a position to judge them as such.

but they serve a purpose. They exist to make a point, or attempt one. I like them well enough.

I am not particularly inclined towards image work. This has long been a disappointment for me. I haven’t taken to cameras, though I have owned a few. I am terrible with figures (both photographic and pictographic). My pacing seems wrong. But I like what I do with sound.

Sound by itself, especially that which I am calling my post-noise work (post-noise in the sense of post-rock. it comes after and is informed by foundational noise artists but is not of the same tradition, cannot approach noise in the same manner), likely creates interesting visual imagery in the mind’s eye. It is likely not what is herein paired.

And it is that pairing, that forced juxtaposition that is meant to be focused upon here. Images out of focus, repeated, permuted, stalled that are forced into conversation with sonic elements that drift, that also permute but differently, that do not align. What is the reason? Why these images? Why these sounds? What does it all mean?

I make noise to be liminal. To test boundaries, to recognize and trace boundaries. To raise questions that cannot yet be answered. The abyss is calling. We lack perspective. One must enter the vortex, knowledge (even knowledge through madness) is necessary for life. These videos seek one such liminal zone, one such barrier island, one such no man’s land. Do they find it? Do any of us?


music courtesy of Delta Brainwave Society

film courtesy of Delta Brainwave Society


Cute Nihilism: on The Grand Budapest Hotel

Wovon man nicht sprechen kann, darüber muss man niedlich.

There have been a number of critiques that have come out regarding Wes Anderson’s most recent feature The Grand Budapest Hotel (due for wide release on Friday). It has been noted as overly twee, lacking in substance, lacking in emotional gravitas. Perhaps these arguments have merit. And I would not argue that one must love this film. But I find all of what has been pointed out in the film as troubling (and has led to notations of previous Anderson works) to be, in fact, what endears the film to me all the more.

While I would not go so far as to claim that the film itself makes explicit claims towards or officially espouses, I would argue that there is a certain undercurrent of nihilism in this text. Before one sees this as a critique, which I certainly do not mean it as, I should clarify. This film (and much of Anderson’s oeuvre in general) is a film of surfaces and failures. It is presented as a nesting set of stories – a film about a book based on a recounting of a story of a caper. Each of these frames are presented with expected Anderson elegance and charm (as has been recounted at length elsewhere). But each of these frames recount a failure (both personal and societal). The central tale (that of M. Gustave and Zero) takes place during the failure to prevent fascism and it’s destruction of the (never having actually existed) good ol’ days marked as well by the failures of love and interpersonal connection and the frailty of life. The frame of the recounting marks the failure of ’68, the breakdown of society, and the desolation of the individual. The frame of the author is set during the failure of the Reagan/Thatcher era where the author notes the failure of mastery (tales do not spring fully formed from the head of the Author). And the final frame, set in some ambiguous present, is marked as we give over the keys to our kingdoms at a monument to the Death of the Author. Indeed, the is a film of failures. These failures are presented but only lightly critiqued. It is noted that love cannot be spoken of (lest it bring forth a depth of emotion the film is unprepared to handle). And thus they are surfaces, beautiful backdrops and set pieces upon which we imagine and relive our failures but now as farce, now for laughs. We cannot help but fail, but continue. At least we should look good while doing it. The best lack all conviction, but we are much better dressed. A film about failure though, should not be considered itself a failure. Just because many critics were looking/hoping for there to be a reality behind the mask does not change that it is turtles all the way down.

This film is also a film of inheritance. It is much noted that Anderson is a filmmaker who has inherited much from film history. But the central driving action of The Grand Budapest Hotel, is, in fact, inheritance. The central story is of dual inheritance, dueling inheritance. The novel is an inherited story, the monument to the Author our collective inheritance. But what is it that we, the audience inherit from this film, this flat circle? Could it not be the knowledge that there is only surface?

The one you search for is not here, this tomb is empty.

We are everywhere lacking in substance, The Grand Budapest Hotel simply does not to try to hide it. Perhaps we should feel shame or loss at our inability to express our abyssal nature, the empty insignificance of it all. But I feel nothing of the sort. The insignificance is freeing, the vastness comforting, and Anderson keeps everything looking so very nice. Certainly death is trivialized. Love as well, though less so. But humanity is trivial. Why run or hide from this truth? Why deny the existential reality of our vast cosmic irrelevance? After all, these are only characters, rendered comically for our amusement and entertainment. Why search for meaning and gravitas on the screen when we so routinely fail to create it in our very lives?