The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recently, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that impact on biomass and energy, erased borders and microbial invention, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distribution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, political premises and definitions of 'life.' There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the interface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation.
Immersion Into Noise
Joseph NechvatalAn imprint of MPublishing -University of Michigan Library, Ann Arbor, 2011 Open Humanities Press is an international, scholar-led open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide. Books published under the Open Humanities Press imprint at MPublishing are produced through a unique partnership between OHP's editorial board and the University of Michigan Library, which provides a library-based managing and production support infrastructure to facilitate scholars to publish leading research in book form.
OPEN HUMANITIES PRESS
OPEN HUMANITIES PRESS
Contents
List of Figures 7 Preface 9The Art of Noisy Noologies 13Into Noise: Tabula
PrefaceOn a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? This is the question I have set out to explore in Immersion Into Noise. For many people, if anything is representative of the art of noise, it is ambivalence. Ostensibly, everything is permitted in art today-and thus nothing is necessary. As a result, art and entertainment are said to have merged. For me, however, perhaps surprisingly, the denial of this merger and the answer to the question posed above is to be found within the challenge of style.In writing this book I have come, counter-intuitively, to see the style of cultural noise as the necessary (and thus valid) art of today-precisely because it does not cave in to the supposed need for immediately legible, spectacle. Indeed it restores art's responsibility of resistance.Some claim that art, as entertainment-spectacle, participates in the dumbing-down values that have proved...
