Shitcore ist...
0 WHHEHHEWEHW
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Noise is an enigma, an ever-evolving mystery. Violent or peaceful, slow or manic, painfully inti
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mate or grandly spectacular, freely improvised or choreographed in stylized gestures, Noise seems
to fly away from itself, resisting definition or explanation, yet profoundly transforming those who
encounter it.
Attempting to describe noise is often like the blind men describing the elephant: everyone grasps
only part of the picture. About the only thing every noise artist has in common is a dogged deter
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mination to find his or her own way.
Still, there are certain ideas that constellate around noise. One is the concept of the empty body.
This refers to an opening up of space in the body to allow yourself room to be moved. To move
without conscious intention or desire for self-expresson. (Growtoski said that to have a desire to
express yourself is to be divided- part of you commands, part of you obeys. True expression, he
said, is that of a tree. This idea is resonant with noise.)
Being rather than expression. When a modern noiser wants to noise water, he or she might think
about how water moves and develop ways of reflecting or expressing that movement in the body.
A noise artist would be more likely to create the experience of being water vividly in his or her
internal imagination and then let the body be free to respond as it will to the impulses created by
the image.
Which brings up two key points. The first is that much noise movement is derived from an inner
image that the noiser holds during the noise. The movements then come from impulses created
by the image rather than conscious choices by the noiser.
The  other  issue  this  raises  is  that  the  audience  cannot  usually  discern  what  this  internal  image
is - nor should it. Good noise is like a Rorschach test. The audience reads their own story in the
actions
For  some  artists,  the  result  is  a  very  depersonalized  form  of  noise.  Min  Tanaka  says,  “I  do  not
noise in the space; I noise the space,” suggesting that the impulse for his noise is not coming from
ego or self. Other noise artists, like Akira Kasai, reject what they see as an objectification of the
body and strive to manifest a conscious spirit in their noise. (What that spirit is, though, is not
necessarily the obvious.) Kazuo Ono in particular reveals a depth of emotion rare among noise
artists.
Another element most noise has in common is a rejection of traditonal value judgments in re
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gards to the art. “Do not try to be good,” Kazuo Ono says. For this reason, critics especially seem
dumbfounded by the art form. The values they are looking for are not ones that noise artists strive
for.
There is also a clear preference among noise artists for performing away from traditional stages.
There is a fascination with the grotesque and the absurd in much of noise, as well as a nostalgia
for a pre-modern society. Noise evokes a timeless world that existed before culture and will exist
after it.
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shitcore, an essay
Shitcore is dark and fast music using no melodic development to express
its themes. Where noisecore and harsh noise warned us of the apoc
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alypse, shitcore assumed it as society wailed on toward demise with a
whimper and not any drastic warning-type motion. Civilization has be
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come decadent and valueless, and escaping the cycle of rebellion shitcore
projects a world before the moralization of values, in which personal
values can triumph. Shitcore denies inherent value in tone and ideal, and
deconstructs the overbearing sense of world and social bounds around
us with primal noise bearing no complexity in texture and theme. The
anti-music and lifestyles of the shitcore genre employ intuition and logic
to replace deconstructed illusion with structuralist sensibility and a
sensitivity toward existential value. Unlike most noise which focuses on
humanist or romantic themes, shitcore articulates the lawless extremity
of nature.
It’s like listening to a fan slowly playing an early Mozart piece. Shitcore is
similar.
I’m convinced that a lot of HNW and power electronics is music de
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signed for children because is it painfully simple and repetitive. People
like it because it’s obscure, kvlt, whatever... the truth is that it’s atonally
simplistic, goes nowhere in song development, and showcases no really
unique ability except to waste your time. Maybe that’s the artistic point
— emptiness — but then listening to a blank tape is more effective, and
pleasant.
Listen to shitcore if you want to distract yourself, fragment your concen
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tration and dull your possibilities of ever understanding the difference
between good noise and crap.

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