| Abstract [eng] |
The object of this research is the performance videos and listener reviews of noise artists The Rita (USA), Merzbow (JP) and Vomir (FR). The aim of the work is to investigate what aspects of harsh noise wall make it significative in listener’s experience. In order to perform the study, Philip Tagg’s semiotic method of music analysis was used. The analysis results then interpreted based on the ideas of Immanuel Kant’s aesthetics and Algirdas Julius Greimas’ concept of aesthesis. The results of the study revealed that the analyzed performers have distinct creative and experience-building qualities. In the process of semiosis, paramusical factors that are semiotically related to a specific musical discourse, but structurally not specific to that discourse, become very important. The dominant descriptions of bodily experience in the reviews point to the aesthetic implications of the harsh noise wall through metaphorical analogies. This is where the specificity of the aesthetic experience becomes apparent – the sensory experience is determined by the layer of cognitive meta-experience that emphasizes and summarizes the experience of harsh noise wall. |
