Of Minimal Materialities And Maximal Amplitudes: A Provisional Manual Of Stroboscopic Noise Performance
Abstract
To be radical is to grasp the root of the matter.
”” Karl Marx [1]
The various techniques available to contemporary multimedia performers congeal, on occasion, into a set of related tools, techniques, and apparent motivations that one might characterize as a genre or scene. More often than not, in technologized audiovisual performance, these differentiable aesthetics and styles emerge with the introduction of a particular new media technology capability (see ”˜electronic music’ and ”˜computer music’ as examples of this). New tools beget new aesthetics and timbres, and software and hardware advances allow for more bits-per-second, more particles-per-frame, and more computing power-per-square-centimeter. Likewise and meanwhile, although more exceptionally, performance tools and styles also arise that are somewhat resistant to these vectors of technological progress.
- K. Marx, “Contribution to the Critique of Hegel’s Philosophy of Right (1843),” in Marx: Early Political Writings(Cambridge: Cambridge University Press, 1994), 64.
