- How much compression does music needs to stop becoming music?
- Information Theory
- Entropy (H) is the ultimate data compression.
- Channel Capacity (C) is the ultimate transmission rate of communication.
- “…mistakes and accidents are recuperated for art under the conditions of signal processing” (54).
- How is the potential of computers affecting the production of music as creative expression? People use to have to know how to play an instrument to hear music before. How is the capacity of creating music in a computer changes its values?
- “Making music with the byproducts of new technologies is a way of maintaining a space of playful exploration” (55).
- Would sound art count as music? Or some music as sound art?
- Computers have allowed sound to be used and modifies for new possibilities.
- “Music is not ‘electronic’ if it merely reproduces known sounds and forms; a new sonic world requires new artistic ideas, new concepts and forms of expression, gained directly from an exploration of the raw data.”
- Aesthetics (M) = Redundancy (R) / Information (H)
- Artist began embracing the crash and error of computers and started to appropriate the failure and glitch into new forms.
- Noise and distortion are a not just a mere inconvenience owed to material resistance. We can’t just assume progress toward a noise-canceling or purified future of perfect communication.
- Both error and control are needed for performance.
- “This reminder of the imperfect,noisy, loussy nature of the machine counters our contemporary digital culture’s positivistic faith in technology as providing order” (74).
I found this article very interesting in the fact that it mentions that sounds these days attempt to emulate and perfect imperfections. We try to find a way to make these imperfections intentional. I think it’s an interesting premise to think about how sometimes what we define perfect can be the complete opposite. The article also mentions that sounds is just raw data waiting to be manipulated. I was amazed about how a poem could be transformed into music and sound. The idea of using the words of poem as the core raw data that can be manipulated to produce sound is nothing less of magic to me. Given that, Krapp asserts that music is not “music” without creativity. Without originality, “music” is nothing but just data. It means nothing. I thought it was fascinating to think of glitch in that aspect. These days, a lot of music seems to be a mass-reproduction of itself. It lacks the creativity and originality. Glitching frees sounds and music from its confines because what it does is directly expose those inner workings of the data it is composed of.
The reading mainly focuses on analyzing how noise and signal being glitched as mistakes and accidents and how they recuperate for art by processing. First of all, there is no absolute difference between noise and signal. Some people may believe a noise is just a signal that the sender does not want to transmit. However, the role of noise is overlooked easily. The development in atmospheric and diegetic film is actually replies on intrusion of noise in Avant-grade aspect. A certain amount of noise can become an essential portion of glitch art, to even a desirable art piece. The author also mentions the algorithmic revolution and a statistical approach of noise and signal. I believe that there is a basic algorithmic or certain level of probability that offer us a foundation of processing, which enables us to create a variety of glitch pieces. Also, the distinction between information and significance reveals that noise, error or distortion may not be appropriate to categorize as general information, but they do contain a great significance in our life. A lot of songs with various genres contain noise, or glitch sound, which trigger listeners thinking and imagination from those distracted pieces.
As technology progresses, so too does the ability to manipulate, arrange and essentially “make” music on the various forms of technological advances, all the while employing forms of glitch. Whether it is the scratch of a record, skip of a CD or beep of a computer, glitches can be used to add another layer to music, or be an entire symphony in itself. The dissension comes in when music “purists” insist that what is generated by a computer simply cannot be music, and that all sounds outside their scope of music are just “noise”. The irony comes in when it becomes evident that while as technology advances in pursuit of perfect transmission, it is also simultaneously utilized to step outside that perfect channel of transmission and instead incorporate noise, rather than minimize it. As early as sound was transmitted through telephones, radios and eventually records, there were those who saw opportunity in the apparent failings of the technology and manipulated these glitched sounds for both theoretical analysis, and musical authorship. As the processing, encoding and amplification of music became more advanced so too did the sound quality, in that it was more pure and noiseless. However, these advances also allowed the avant-garde, glitch and bold artist a more diverse set of tools to manipulate and make music. So, blessed is the artist that is bold and pushes the boundaries for they are the ones that find true revolution. Whether it is Lou Reed or some kid in his mom’s basement on a computer messing with a computer program, innovation is born from not just thinking outside the box, but pursuing it. The next advance is just a glitch away.
I found it interesting seeing how perfection is being altered to satisfy the artist’s aesthetic, when it’s supposed to be the other way around. But who determines what’s “supposed” to be and what isn’t? The beauty of glitch allows an open platform for all possibilities. What I found particularly intriguing is the quote “Noise does not have to be loud, but it has to be exclusive…creating in sound a bubble”. What exactly is noise? Where do we draw the line when labeling music and noise?
Glitching music creates a certain affect of pleasure – we like it but we don’t know why. The need to create something distorted and different comes from our ability to alter these sounds in the digital age. Without the means of distorting music, we would not be able to create original content such as this one. Entering the 21st century, music found itself face to face with everyday noises being consolidated with tunes.
I think it’s interesting to see how what is considered weird enter the realm of the ordinary. Failure becomes art, noise becomes music.
We stumbled into the world of glitch during the post-war era, and I find it interesting how artists channeled this into their work and took advantage of the world surrounding them by placing it with music.
I found this reading to be rather intriguing and could relate to it. The reading describes glitch in sound along with how it has progressed over time due to djs and what not. To be honest I could care less about most DJ’s and edm, however I am fascinated by electronic musicians such as Burial, Nosaj Thing and Jaime XX. I have always found glitch and music to go hand in hand. Nine Inch Nails for example, Trent Reznor manages to loop sounds and hard drums to create this amazing industrial sound. This sound that Reznor created can be seen as pioneering industrial music. Nine Inch Nails album “The Downward Spiral” is a beautiful set of sounds that are remixed and glitched in order to provide the listener with an experience. The album itself sounds as if one is being torn apart and coming back together. The themes in the album vary from god and sexuality, but overall, it is a wonderful example of glitch. Reznor distorts sounds and his lyrics can be considered sacrilegious. the album itself is out of the norm, it is a glitch since it breaks from the norms of society. Seeing how defying god and acting outside of what is considered normal, it does not follow the system beliefs of our “american” culture. Art like this ultimately can be viewed as a mistake as an error, as something that shouldn’t exist in our idealistic american world.of Then there is musicians like Burial, who not only keeps to himself in secrecy, he samples everyday sounds, there is no instruments. Burial breaks the conventions of creating music, he needs no instruments, all he needs is recordings of sounds. As he gathers these sounds he loops and layers them in a beautiful manner and created u. k. dubstep. Which in my opinion along with future garage are great examples of glitch as a music genre. the distortion and creation out of the norm. The very essence of transcending musical standards distinguishes those who know to create sound from those who can create art and set themselves as auteurs. A glitch is simply an error, a form of breaking away from the conventions and “rules”that make a genre, at least for art sake. Technology is a whole different thing.
The article Noise Floor: Between Tinnitus and Raw Data is talking about the relationship between noise and signal and between sound and sound art. It focus on making music with digital technology. It discussed about how the digital tropes of perfect sound copies are abandoned of errors and glitches. “Making music with the byproducts of new technologies is a way of maintaining a space of playful exploration”. In this full of audiovisual environment, the material of transformation to representing sound will reproduced the audio to everyone can close enough to get. In the last, the author talked about how the computer can be equal performance partners in the digital signal processing of audiovisual display. As he said: “Noise not only designates the no-man’s-land between electroacoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between mustique concrete and folk; between stochastic composition and art brut.”