LABS 2017 estAblishing A criticAl frAmework for the ApprAisAl of “noise” in contemporAry sound Art with specific reference to the prActices of YasunAo tone, Carsten nicolAi And ryoji ikedA Adam Collis Yasunao Tone, Carsten Nicolai and Ryoji produced by and about these practitioners, Ikeda are three practitioners representative of including commercial releases, works, writ- electronic music and sound-art practices that ings and interviews. What emerges from this emerged in the 1990s where sound materi- is that Heidegger’s notion of truth as “reveal- als not normally considered musical, such ing” and Derrida’s critique of phonocentrism as digital clicks, glitches and bursts of white can provide a clearer philosophical framework noise, are prevalent. The origins of this body for a consideration of this body of work. of work lie outside of the established music of This thesis argues that these practices reflect academia and the mainstream popular music a wider cultural shift away from the notion industry, and practitioners are often associated of “value” as something quantified, abstract with particular record labels, including Mille and intrinsic, toward one concerned with the Plateaux or Raster-Noton. While attempts qualitative, contextual and extrinsic, and that have been made to coalesce these practices these practices are forms of conceptual sound into a single unified genre, these assessments art that challenge both the notion of “absolute” tend to critique work mainly in technological music and the prevailing political-economic terms. structures. In contrast, this thesis draws out deeper Adam Collis: <
[email protected]>. philosophical concerns relevant to these prac- PhD thesis, University of Surrey, U.K., 2016.