#staticinterferenceglitch

By approaching musical aesthetics in these literal terms, with such a rigid methodology, I hoped to isolate and examine the link between particular sounds and the underlying ideologies of production that give them their meaning. If I understood the precise methodologies and aesthetic devices of a particular musical form, would I better understand, in general, the relationship between music and the modes of governmentality that facilitate its production and consumption?By swapping typical lyrics for this unmusical written content, and forcing the language to conform to the chosen musical aesthetic, my intention was to question the givenness of aesthetic conventions in music – to point towards a certain arbitrariness in codes of musical meaning. If popular music functions as a primary driver in the continued propagation and mutation of the underlying Spirit of Capitalism – might the only way to disrupt this feedback loop be to question the aesthetic codes that give popular music its efficacy? In times of complete subsumption, within the confines of the cultural generic that iselectronic music production, could this type of aesthetic relativism be the most transgressive possible act?”

Art is not however a manifestation of media but rather, transforms the media upon which it operates. Art can alert us to our own media-narcoses by means of media themselves. Marco Fusinato selects five pamphlets with titles such as ‘The Capitalist System’ and ‘Theses on the Imaginary Party’ — a form he has long been collecting — and literally blows them up. Fusinato transforms these five pamphlets into five quadripartite works. Every piece of information in the pamphlets has been retained by Fusinato, nothing is lost: the front and back covers, the inside covers, all down-folded pages overprinted, all up-facing pages overprinted. Once handheld, amateurish, multiple, these pages are enlarged, rendered stationary, interior, compacted, until the putative information is overloaded and becomes not so much a galaxy of stars as a fortress of obscurity. The pamphlet once directed against noise becomes an element and tonality of noise itself.