Noise is the false liquidation of art. Instead of utopia becoming a reality it disappears from the picture.
Intention of the theme
If the aesthetic realm originally emerged as an autonomous sphere from the magic taboo, which distinguished the sacred from the everyday, seeking to keep the former pure, the profane now takes its revenge on the descendant of magic, on art. Art is permitted to survive only if it renounces the right to be different, and integrates itself into the omnipotent realm of the profane, which finally took over the taboo. Nothing may exist which is not like the world as it is.
NOISEWOMB is a net-based staging of the reappearance, on the scene of the absent sign, of the previously silent utopia.
I think it is useful to return to Rainer Maria Rilke's fabulous essay "Primal Sound" from 1919, where he describes the following:
"The coronal suture of the skull a certain similarity to the closely wavy line which the needle of a phonograph engraves on the receiving, rotating cylinder of the apparatus. What if one changed the needle and directed it on its return journey along a tracing which was not derived from the graphic translation of a sound, but existed of itself naturally–well: to put it plainly, along the coronal suture, for example. What would happen?
"Noisewomb" by Catherine Henegan (ZA), 2009 Human heartbeat recorded in the womb. Chimes and a rainstick. 8 mm family footage. Final Cut Pro.
TAME by Isabelle Schiltz (BE) Video Performance 2009. Panasonic NV-GS300 video camera mini-dv
Inner Cuts by Kerstin Ergenzinger Animation 2009 Digital SLR, piezoelectric microphone, paper, rubber, spit, cutter, cut mat, glass, mirror, screen-capture and editing software.