“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.
Noise has the power to provoke ecstasy.
The drawings are from The Laughing Vampire Vol. 2 by Suehiro Maruo. It’s a collage, not the real layout of the comic page.
— You made a loud noise.
— You didn’t make umbrage with the loud noise. You made umbrage with the fact that you’ve got a load of gay people in a straight bar. That’s what you’ve got your problem with. Admit it, just admit it.
— Absolutely admit it.
— The sexuality of the loud noise was not an issue with me, it was the fact that the noise was loud.
— Oh, right, so it’s just merely a matter of decibels.
It’s that time of the year in which everybody writes best-of-the-year lists, all I have to say this year is this, paraphrasing Matt Zoller Seitz:
“Other series were more comprehensible, and nearly all were less gore-soaked, but none was as consistently innovative and sublime … This visionary drama evoked German Expressionist cinema, glossy-pretentious art-house pictures … super-sexy fan fiction, and even experimental film. … The climactic showdown … was the most orgiastic display of choreography, music, lighting, and gore … [its creator] might as well have reached through the screen and handed viewers a cigarette and a towel.”
Guess what he’s talking about.
“The 10 Best TV Shows of 2015,” Matt Zoller Seitz, Vulture.
“‘And woman is the same as horses: two wills act in opposition inside her. With one will, she wants to subject herself utterly. With the other she wants to bolt, and pitch her rider to perdition.'”
Women in Love, D. H. Lawrence.