Art Pottery, Politics and Food
Monday, January 08, 2007

Noise, the silent and visual kind, was in analog days of yore a byproduct of an essentially mechanical process.
The current 9th edition (I gasped as the 3rd “waxed tablet” Edition was my text) of Zettl’s Television Production Handbook crisply defines “noise” as:

Unwanted interference in video…white or colored vibrating spots or color-distorting artifacts.

The West’s postmillennial technical transmogrification from greasy gears to digital ether blessed feculent noise and elevated the lowly mechanical hazard and artifact dimensionally upward and outward.
Noise today, wildly hazardous on entirely different levels and still a miniscule subset of the recording and playback process, is the very environment in which we live.
It sprouts from even innocent mouths and appears on soup cans…One need not purchase an expensive device to bask in its eternal dopplering falsity…It is ubiquitous and it is how we are mislead and blinded in the isolation of our vast producing and consuming herd.
Noise has become goad for the jaundiced intellectual apostate and thanks to increasingly ubiquitous digital media practically genre.
The evolving 21st century freethinking human, it appears, has a culturally thematic obligation to become the most intellectually honest and unpredictable “vibrating spot or color-distorting artifact” he or she can possibly be.
The classically unruly aggregate human…noisy, unmarketable and gloriously unpredictable…each and every one with the finest clipped toe nails and minty fresh breath our advanced civilization can muster.
To paraphrase the ancient Virgin of Guadalupe, this diversity buried within the free choice of our very souls is the proof, the sign and the assurance of free humanity’s eternal triumph over the equally eternal pestilence of petty lords and diversionary tales.

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