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I invented this track
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Fast noise is not noise music.
The second most important sections directly from Adorno that effected my approach are from The Philosophy of New Music - titled Dialectic of Loneliness and Loneliness as Style. The following is symptomatic: "The musical language is polarized into extremes: on the one hand, into gestures of shock - almost bodily convulsions - and on the other, into the brittle mobility of a person paralyzed by anxiety. The entire world of the mature Schoenberg's form, as well as that of Webern, derives from this polarization... The musical 'mediation' which their school had previously intensified to an undreamt of degree, is destroyed by this polarization, and its destruction has taken with it the distinction of theme and development, the steadiness of the harmonic flow, and the unbroken melodic line as well. Without exception every one of Schoenberg's technical innovations can be followed back to this polarization of expression..." If fast noise is analogous, maybe recreating that polarization present in classical music likewise destroys any traditional meaning to the noise. By increasing the speed the dynamic quality of noise is freed from dependence on the wit or skill of traditional methods just like: HNW frees harshness from any kind of thematic development; and Schoenberg was able to make dissonances sonorous in their own right - without the need for resolution. I think noise music is as capable of being overturned as music was by the new music.
Was the "anxiety" of Schoenberg's radical innovations based on an aversion to previous taste? Without the aforementioned wit, what can noise really do or say? I do sometimes even edit out sections that do not evoke anxiety. It should not be suggested that that editing process is itself a form: isn't that the whole point of Adorno's critique of the culture industry?
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