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<div style="text-align: justify;" class="p1"><img style="border: 0pt none;" width="900" height="638" src="http://img2.ymlp270.net/1pxj_FINALnoisefinalposterWEB.jpg" /></div>
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<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;"><br /></span></span></div>
<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">For Immediate Release:</span></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 18pt;"><b><span style="font-family: arial, helvetica, sans-serif;">Noise and the Possibility for a Future</span></b></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 18pt;"><b><span style="font-family: arial, helvetica, sans-serif;"><br /></span></b></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Organized by <b>Warren Neidich </b></span></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">March 6th and 7th</span></span></div>
<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">The Goethe-Institut Los Angeles</span></span></div>
<div style="text-align: justify;" class="p3"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Adresse: 5750 Wilshire Boulevard, 100, Los Angeles, CA 90036</span></span></div>
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<div style="text-align: justify;" class="p3"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Participants:</span></span></div>
<div style="text-align: justify;" class="p3"><span><b><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Victor Albarracin, Andrew Berandini, David Burrows, Luciano Chessa, Mathieu Copeland, D.J. Spookey (aka Paul Miller), Corey Fogel, Simone Forti, Paul Hegarty, Sarah Kessler, Ulrich Krieger, Gregory Lenczycki, Mattin, Daniel Munoz, Renee Petropoulis, David Schafer, Marcus Schmickler, Susan Silton, Gabie Strong Karen Tongson, John Wiese, Susanne Winterling</span></span></b></span></div>
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<div style="text-align: justify;" class="p5"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things. (Jacques Attali, Noise: The Political Economy of Music)</span></span></div>
<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;"> </span></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Noise is prevalent in our post-industrial society, like it or not! Whether experienced as the cacophony of an industrial era eroded and broken, breeding new forms of information, war machines and inspirational responses such as those of Throbbing Gristle's, in which over-painted and appropriated sounds are collaged with real time performance, producing a clangorous, disharmonic din. Or whether, instead, the dissonance resulting from an overly compressed and accelerated cultural habitus occurring near highways and airports that makes life a little less livable, generating protective responses such as noise barriers, those Serra-esque barricades shielding adjacent built communities. </span></span></div>
<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;"> </span></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">Noise usually gets a bad rap. It is appreciated as something offensive, rendering systems inefficient and therefore requiring control or mitigation. However, noise has another side, more positive and emancipatory. This 'other side' is the focus of this conference which understands it in an expanded form. It asks instead whether it might be considered as something liberating. Could we think of it rather as a mode of production beyond capitalism's capacity to recuperate its alterity for its own purposes; a sublime place of freedom? </span></span></div>
<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;"> </span></span></div>
<div style="text-align: justify;" class="p2"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">This symposium aims to understand how Noise acts as a destabilizing force through which the inherent diversity and variability in the world, its pluri-potentiality, is first unleashed and then reregistered to create alternative events that reroute institutional networks, hoping to ‘undistribute’ and disentangle the contemporary mesh of our highly-connected social, political, economic, and psychological world. What then might emerge? This cross-disciplinary intervention links the fields of visual art and music, especially their theories of the avant-garde, to other fields of study such as performance studies, auto-destructive art, social constructivism, critical theory, gender and queer studies and political philosophy, in order to understand an expanded notion of noise as a discursive apparatus of building. After all, in our information and knowledge economies, ideas and discourses create the surplus value of exo-evolutionary fields that become embodied in neural, social and economic circuitry. Of special importance will be a conception of noise as it relates to the emerging field of communicative and cognitive capitalism in which the mind and brain are the new sites of wealth production and control. As the introductory quote implies, music and noise create new possibilities for contemporary forms, shapes and events active in the cultural landscape. Warren Neidich</span></span></div>
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<div style="text-align: justify;" class="p1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">For more information:</span></span></div>
<div style="text-align: justify;" class="p6"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;"> </span></span></div>
<div style="text-align: justify;" class="p7"><span class="s1"><span style="font-size: 10pt;"><span style="font-family: arial, helvetica, sans-serif;">phone: <a href="http://t.ymlp270.net/whjafauyuuuacauwhaaabwuj/click.php"><span class="s2">+1 (323) 5253388</span></a><br /> fax <a href="http://t.ymlp270.net/whbadauyuuuafauwhafabwuj/click.php"><span class="s2">+1 (323) 9343597</span></a><br /> <a href="mailto:info@losangeles.goethe.org">info@losangeles.goethe.org</a><br /> <a href="http://t.ymlp270.net/whhapauyuuuanauwhafabwuj/click.php">www.goethe.de/losangeles</a> </span></span></span></div>
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