The science of noise

- the precise construction/restructuring of noise in an environment
inhabited by representation, relativization and allusion enables the
analysis of the constant barrage of generated noise interpolated with
abstract and vocal social commentary. If the decisive level of social
analysis is in language then this is highly indicative of the move of the
higher societies toward digitization. A collapse of unification through
multiplicity, KROP3ROM||A9FF is an exponent of opposing ideals, of
postmodern artistic and political thought.


KROP3ROM||A9FF is a language game. However the rules are either entirely
non-existent or require a constant updating of intellectual and social
systems knowledge. Most certainly, the positions of speaker (the music
itself), the listener and referent of information (in this context
information replaces the narrative element) create a relation of mutual
exteriority.  A cohesive communicative vehicle it is not, where as a form,
or structure within which a communicative discourse can take place, it
excels if the listener is competent. This work is unavoidably incoherent to
the ill-informed.


Here, the discursive temporality is circular, not linear like most
scientific discourse, and like most complicated musical forms only upon
repeated listening is the information relayed with any clarity. In this
context the work takes on credibility as a commentary on social forces (the
darker nature of much of its length suggests condemnation and support of
fascist values) and scientific language (where it plays its own game - it
is incapable, like science, of legitimizing other language games). The
status of legitimization takes on two tendencies, each of which appear to
extend in conflicting directions. First, it develops its own self
justification with its internal imagery and compositional techniques of
unification through thematic structures (rhythmically and referentially),
confirming its musical cohesion. Secondly, science (the science of computer
music, of social commentary, of politics and economy) expands its relation
to society, or the instrumentality of society. Computerization enables both
these opposing tendencies and Kroperom is circular in its internal
referentiality.



The theory of computerization has provided a model for the system control
that equates contingency with noise. The ideal: to eliminate contingency
and maximize control by the system. The elimination of contingency here
points to the reprezentationality in KROP3ROM||A9FF of social currency.
Perhaps most relevant is the appearance of a sample of the system control
machine Alpha60 from Godard's Alphville. The control of society by a
mainframe computer and its inevitable faults made only apparent with the
arrival of a man from an outside 'democratic' society. Like the
multiplication of sites of power and resistance on the .net and currents in
modern politics and economic management, there seems an effort to
complicate the social and extricate it from the theoretical clutches of
analytic and dialectic reason. KROP3ROM||A9FF redefines noise structure as
a locus of contingency, absence of subject and linguistic uncertainty.



This work exemplifies certain issues brought about due to the emergence of
computerization. A powerful discourse in systems management, as complicated
and formulaic as Hesse's Glass Bead Game, and probably as vague. Though it
may express the foundational theme: that our existence is becoming
increasingly characterized by machines, it challenges the instability of
digitization while remaining within the set itself. A degree in higher
mathematics would be desirable to fully comprehend the chaotic structures
of KROP3ROM||A9FF. The macro points to frameworks similar to fractal
patterns, demonstrating order and presence of pattern in apparently
irregular systems.



In KROP3ROM||A9FF there is no centered subject directing the listener
through a narrative, more a multidimensional logic of deleuzian strata and
assemblages, recalling the disfunctionality of concept and subject. Is
KROP3ROM||A9FF the disciplined consciousness of a scientist or social
theorist? The highly developed non-linearity contextualizes the binary
logic of the current systems as weak, proclaiming an anti-authoritarian
stance. Clearly acknowledging the intertextuality that constitutes social
and musical structures as a proliferation of linguistic instability giving
rise to increasingly unintelligible tendencies, KROP3ROM||A9FF is a radical
non-centered work mitigating the suspect notion of freedom as the flux of
desire.




http://www.god-emil.dk/=cw4t7abs/0f0003/ztpd/audio.html




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