“The Merzbow noise is abstract, minimal, deprived of mimetic content. Its effect is immediate, an overload of the nervous system, not being able to sort out the information into categories of relevant and irrelevant – hence the normal reaction of fear and discomfort when confronted with Merzbow noise. ‘Noise is the unconsciousness of music’, Merzbow states, in the same way as his other main interest, pornography and bondage, is the unconsciousness of sex.”
The Aesthetics of Noise, Torben Sangild.
“‘Le bruit,’ noise with imitative effects, was introduced into art (in this connection we can hardly speak of individual arts, music or literature) by Marinetti, who used a chorus of typewriters, kettledrums, rattles and pot-covers to suggest the ‘awakening of the capital’; at first it was intended as nothing more than a rather violent reminder of the colorfulness of life.
Every movement naturally produces noise. While number, and consequently melody, are symbols presupposing a faculty for abstraction, noise is a direct call to action. Music of whatever nature is harmonious, artistic, an activity of reason—but bruitism is life itself, it cannot be judged like a book, but rather it is a part of our personality, which attacks us, pursues us and tears us to pieces. Bruitism is a view of life, which, strange as it may seem at first, compels men to make an ultimate decision. There are only bruitists, and others. While we are speaking of music, Wagner had shown all the hypocrisy inherent in a pathetic faculty for abstraction—the screeching of a brake, on the other hand, could at least give you a toothache.
Bruitism is a kind of return to nature. It is the music produced by circuits of atoms; death ceases to be an escape of the soul from earthly misery and becomes a vomiting, screaming and choking. The Dadaists of the Cabaret Voltaire took over Bruitism without suspecting its philosophy—basically they desired the opposite: calming of the soul, an endless lullaby, art, abstract art. The Dadaists of the Cabaret Voltaire actually had no idea what they wanted.
Simultaneity is a direct reminder of life, and very closely bound up with bruitism. Just as physics distinguishes between tones (which can be expressed in mathematical formulae) and noises, which are completely baffling to its symbolism and abstractionism, because they are a direct objectivization of dark vital force, here the distinction is between a succession and a ‘simultaneity,’ which defies formulation because it is a direct symbol of action.”
En Avant Dada: A History of Dadaism (1920), Richard Huelsenbeck.