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Title Immersion into noise
Author(s) Nechvatal, Joseph
Publication date 2011
Original citation Nechvatal, J. (2011). Immersion into noise. Ann Arbor: Open
Humanities Press. DOI: 10.3998/ohp.9618970.0001.001
Type of publication Book
Link to publisher's https://openhumanitiespress.org/
version http://dx.doi.org/10.3998/ohp.9618970.0001.001
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Rights © 2011, Joseph Nechvatal. This is an open access book, licensed
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Under this license, authors allow anyone to download, reuse,
reprint, modify, distribute, and/or copy this book so long as the
authors and source are cited and resulting derivative works are
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Immersion Into Noise
Critical Climate Change
Series Editors: Tom Cohen and Claire Colebrook
The era of climate change involves the mutation of systems beyond
20th century anthropomorphic models and has stood, until recent-
ly, outside representation or address. Understood in a broad and
critical sense, climate change concerns material agencies that im-
pact on biomass and energy, erased borders and microbial inven-
tion, 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 distri-
bution. As the pressures and re-alignments of this re-arrangement
occur, so must the critical languages and conceptual templates, po-
litical 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 in-
terface 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 Nechvatal
OPEN HUMANITIES PRESS
An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011
First edition published by Open Humanities Press 2011
Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001
Copyright © 2011 Joseph Nechvatal
This is an open access book, licensed under the Creative Commons By Attribution Share Alike license.
Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy
this book so long as the authors and source are cited and resulting derivative works are licensed under
the same or similar license. No permission is required from the authors or the publisher. Statutory fair
use and other rights are in no way affected by the above.
Read more about the license at creativecommons.org/licenses/by-sa/3.0
Cover image: Joseph Nechvatal, sOuth pOle, 2011, computer-robotic assisted acrylic on canvas,
50 x 50 cm, Galerie Richard, New York
ISBN-10: 1-60785-241-1
ISBN-13: 978-1-60785-241-4
Open Humanities Press is an international, scholar-led open access publishing collective whose mis-
sion 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
www.publishing.umich.edu www.openhumanitiespress.org
Contents
List of Figures 7
Preface 9
The Art of Noisy Noologies 13
Into Noise: Tabula Rasa vs. Horror Vacui 35
Noise Vision 59
Signal-to-Noise Eye 104
Modern Nervous Noise Eyes 133
Viral Attack within Connectivist Noise Schematics 199
Noise Against Oblivion:
An Omnijective Philosophy of Noise Culture 209
Notes 230
Bibliography 258
Additional Licenses 269
List of Figures
Figure 1: Uplifting, 1983, 11x14”, graphite on paper, Joseph Nechvatal
Figure 2: Palace of Power, 1984, 11x14” graphite on paper, Joseph Nechvatal
Figure 3: XS the Opera: Shakespeare Theatre Boston 1986
Figure 4: Enhanced detail image from the Abside of
the Grotte de Lascaux, Dordogne (France)
Figure 5: Gods of Politics, 1984, 14x11” graphite on paper, Joseph Nechvatal
Figure 6: Side ossuary in the Cimitero dei Cappuccini located be-
neath the chapel Santa Maria della Concezione (Rome)
Figure 7: Detail of a section of the Parisian Catacombs (Paris)
Figure 8: Rosario Chapel in Santo Domingo Church (Puebla, Mexico)
Figure 9: Rococo interior of the Ottobeuren Abbey (Bavaria)
Figure 10: Interior view of Egid Quirin Asam’s Asamkirche (Munich)
Figure 11: Fidelis Schabet’s décadent Venus Grotto, 1877 (Linderhof)
Figure 12: Interior stairway of Victor Horta’s Hôtel Tassel (Brussels)
Figure 13: Exterior view of Antoni Gaudí’s Casa Batlló (Barcelona)
Figure 14: Exterior view of the Palais Idéal by Facteur
Cheval (Hauterives, Drôme, France)
Figure 15: Hiroshima after the dropping of the atomic bomb
Description:of cultural noise as the necessary (and thus valid) art of today—precisely .. aesthetic noise, Immersion Into Noise will propose a supplementary un- The strategy of a dissonant hyper-anything includes principles of net- a communicative space by use of an annoying grammar that can smash.
