Noise, an underground music made through an amalgam of feedback,
distortion, and electronic effects, first emerged as a genre 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 called
"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 the social
interpretations of media.
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