Noise, an underground music genre made through an amalgam of feedback, distortion, and electronic effects, first emerged in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise has captured the imagination of a small but passionate transnational audience. For its scattered listeners, Noise always seems to be new, and to come from somewhere else: in North America, it was "Japanoise." But does Noise really belong to Japan? Is it even music at all? And why has Noise become such a compelling metaphor for the complexities of globalization and participatory media at the turn of the millennium? In Japanoise, David Novak draws on more than a decade of research in Japan and the United States to trace the "cultural feedback" that generates and sustains Noise. He provides a rich ethnographic account of live performances, the circulation of recordings, and the lives and creative practices of musicians and listeners. He explores the technologies of Noise, and the productive distortions of its networks. Capturing the textures of feedback - its sonic and cultural layers and vibrations - Novak describes musical circulation through sound and listening, recording and performance, international exchange, and social interpretations of media.
具體描述
讀後感
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用戶評價
有一些扯到人類學的還挺有意思的，readable加一星。
评分最煩扯淡
评分擺脫浪漫主義和編年曆史敘事的紮實之作。四年瞭，初稿譯完。
评分關西“噪音”。雖然民族誌的寫法，寫法有比較的框架。因為“日本噪音”本來就隻是標簽，很難不提“科技東方主義“。至於是不是”極端音樂“，我覺得這種提法有閤理之處，特彆是單純就”大音量“、”爭議性行為“（嚮觀眾拋灑不明液體啊，使勁砸吉他、摔東西啊，極端性體驗啊）。隻不過西方現代音樂也有極端的錶現，方式不同而已。另外，加拿大早期噪音曆史我瞭解的比較少，但是濛特利爾大把後搖樂隊也是因”噪音“自居的。
评分閱畢隻發覺大部份內容都耳熟能詳，以前在各處聽過、讀過。之前看到的唱片店地圖原來隻是舊的，fxxk... 唯一有趣是一段寫到Kelly Churko、Guilty Connector怎去作母帶處理...
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