Text Sources:

Attali, Jacques, "Noise and Politics," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 7-9.

Barthes, Roland, "From Work to Text," Art After Modernism: Rethinking Representation (New York: New Museum of Contemporary Art, 1984), pp. 169-174.

Baudrillard, Jean, "Requiem for the Media," reprinted in The New Media Reader (Cambridge: MIT Press, 2003), pp. 278-88.

Cage, John, "The Future of Music: Credo," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 25-8.

Cowell, Henry, "The Joys of Noise," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 22-4.

Hegarty, Paul, Noise / Music: A History (New York: Continuum, 2007).

Reynolds, Simon, "Noise," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 55-8.

Russo, Mary and Daniel Warner, "Rough Music, Futurism, and Postpunk Industrial Noise Bands," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 47-54.

Russolo, Luigi, "The Art of Noises: Futurist Manifesto," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 10-14.

Schafer, R. Murray, "The Music of the Environment," reprinted in Audio Culture: Readings in Modern Music (New York: Continuum, 2007), pp. 29-39.

Audio Sources:

"noise1" = Arp Axxe synthesizer + Vox overdrive pedal + Boss RV-3 Digital Reverb / Delay + Line6 DL4 + Devastor VST

"noise2" = 1/4" guitar cable + Boss RV-3 + Line6 DL4 + FuzzPlus VST

"noise3" = Juno-106 synthesizer + CamelCrusher VST

"noise4" = Ensoniq EPS + sampled cassette recording + Spektral Delay VST + TAL-Tube VST

"noise5" = Kit-606 Gnarly Crunch [Devastor VST / Beat Repeat x 3 / Saturator] + Kit-909 Tresor [Beat Repeat + Saturator + Beat Repeat + Destroy FX Buffer Override VST]

"noise6" = MXL large diaphragm condenser microphone + KRK Rokit 5 near-field monitors + keychain + Post-It note

"totalcondition" = GE cassette recorder + MXL microphone

All noise created in Ableton Live by Nathan Altice, 2008. You may also return to the beginning.