The Noisy-Nonself or, I, the Thing in the Margins

Listening out for the Noisy-Nonself requires an apophenic ear that must swim through the dirty data of the real and imaginary, ethical and aesthetic; loops of knowing and unknowing blur with skin and fur; the field becomes a para-speculative world; a fractal glitch harboring the horror of its own echoes (Wright, Evental Aesthetics Journal, 2017).

An ongoing investigation into the ‘silent’ histories of nature and environmental sound recordists. Through performance, sound, installation and text the work presents a chimeric protagonist: a troubling doubling cyptoid character, part absurd doppelgänger, becoming microphonic, a bipedal assemblage of another I. It is the noise in the signal, a parasitic oscillation reanimated in brute anonymity. We can never be sure if it is dead or alive, sentient or not? Human? Animal? Technological? The noisy-nonself terrorises through obfuscation, haunts through absent presence. Its ‘captured’ image appropriates frame 352 from the 1967 Patterson-Gimlin Bigfoot film and humorously horrifies in its frozen revelation.

Keywords: noisy-nonself, crypto-audiology, costume, silence

First installed as part of a solo exhibition at IMT Gallery, 2015

Art Monthly 394  /  Journal of Wild Culture / The Learned Pig

Promises of Monsters, University of Stavanger, 2016  /  Evental Aesthetics: Independent Journal of Philosophy