The sound of contemporary society within which the entrepreneurial mode of fabrication prevails, is one which flails about with immense clamour and commotion, the noise of each elementary moment now bereft of shape or form.
The Society of Racket, The Society of Din, The Society of Uproar or The Society of Dissonance – its clear as a bell that the spectacle has been drowned out by a cacophony of beats. It was never more or less the right time, but now might be when we need to be rethinking the visual/geographic biases of text-image based cultural comprehension, in order to sound out new critical questioning and evoke – metaphors at the ready – abstractly aural registers with which to practice politics. We think.
Such a politics would be echoed in the sonic reverberations of protest movements of old – the chants, songs, hubbub, the drums, critique, tone, the sirens, the roar, helicopters, loudspeakers, whistles and horns, and those mad(denning) anarcho drummers etc., – right through to the dominant ker-ching of cash register commerce. By way of the self-selecting sonic domination of ipod-wearing or mantra chanting devotees of the music promo, through to the resonances of self-criticism and interrogation as testimony to knowledge practices both emancipatory and oppressive. The stomp of marching jackboots or the anguished ‘NO’ of revolt – the lyrical romanticism of alternatives and the thud of hard cash. The rumble of tanks, the bang of car bombs, the doom doom doom of the bass drum; the tonality of critique trumps perverse property. New tools for thinking the border beyond geography, beyond the logic of the visual, beyond property and supremacy.