In the chapter Noise Floor: Between Tinnitus and Raw Data, Peter Krapp discusses the differences between noise and signal. Noise is known to be a signal that the sender does not want to transmit. Krapp says that noise doesn’t have to be loud, but that it has to be exclusive. A signal is when something is taken to be meaningful.
Krapp discusses the modern day’s obsession with with noise-canceling. The invention of technologies such as the headphones allow for certain sounds and glitches to be cancelled out and unheard. The people of today’s culture have developed two different categories of sound: the unwanted sounds and the sounds that are acceptable forms of music. However, it is interesting to realize that there are acceptable forms of glitches that, only when in a certain context, are acceptable.
The question now is, what are the contexts in which glitches are acceptable, and when are they not? Glitches and extraneous background noise would be completely unacceptable in films, where audiences expect there to be perfect, fresh, crisp sound. However, with the development of “electronic music”, glitches such as the scratches of a turntable and the buzzing of a high-pitched sound, are considered acceptable and considered to be music. While some people are extremely anti-noise, and don’t understand how these glitches can be acceptable, there are people who do believe that it can.
Krapp goes on to point out that the new generation is very pro glitch, which leads me to question what will come next. Will suddenly all new popular music be infested with glitches and errors? Will this new music kick out the old making what was previously defined as acceptable music to now be unacceptable? Will there be new forms of glitching? Will these glitches be glitched? If these glitches are glitched, how much glitch can be tolerated before it is not considered to be a glitch anymore? With the advancement of new technologies, there are an increasing number of possibilities for glitch art, and its all in our power.