
Rebecca Horn, Crickets Song, 2010
Stone, copper, motor, electronic device, 16-1⁄2 x 7-7⁄8 x 9 inches

Rebecca Horn, Crickets Song, 2010
Stone, copper, motor, electronic device, 16-1⁄2 x 7-7⁄8 x 9 inches

Ann Hamilton, Body Object #14 (Megaphone)



Hanne Darboven, 24 Gesänge (24 Chants), 1990, Schellmann Art
Four-part silkscreen on rag paper, one with collage, with two music tapes. Overall size 155 x 532 cm (61 x 209.4 in). Signed and numbered on print 4.
Signature: Signed and numbered
Perfect Day from another room
Lou Reed
This shift in position is consistent with Michel Serres’s observation that, in human relations the positions of sender/receiver are always in flux. In 1948, Claude Shannon, a research engineer with Ma Bell, rationalized communications by offering a model that stubbornly remains dominant in information theory and beyond. Communication is an immutable message in the form of information initiated by a source, moved through a channel with all its susceptibilities and vagaries, and is finally received at its destination. This is the world of signals, noise, probability error, coding and decoding, and channel capacity, of clear transmission functions within tolerances.16 But Serres’s analyses of communication question the stability of this system. He prioritizes the concept of noise over message, noting that in French a secondary meaning of the word for “parasite” is “static or interference.” Rather than the unwanted remainder, noise is the motive force that moves subjects from parasite to host.17 There is no message without resistance.
In a certain way, identity, then, is a noise…that interferes with the messages that we transmit and receive. It’s hardly audible to others, but we hear it loud and clear. Yet it’s not the kind of noise that bothers us; on the contrary; it gives us a sense of reality, a measure of empowerment: it adds “room-tone” to the otherwise hyper-real world around us. Some may enjoy listening to it more than others; some may tune in to it more than the others would care to. And some play it so loudly just for the fun of it or in order to make the others listen; but the others usually do not and would not listen.18
Dystopia is a noisy non-place.
—Being Heard: Listening In—Sound & Our Dystopian Present by Matt Malsky