Noise is the trace and index of a relation that itself speaks of ontology. Noise is immersive because there is nothing outside of it and because it is in everything. It is the trace of the virtual out of which all expressive forms come to be, the mark of an ontology which is necessarily relational. Noise ultimately points us to the relational ontology according to which the world comes to pass, the way in which there is nothing that falls outside of the event, of the realm of process, of an existence formed only through the heterogeneous assemblages of different forms of expression which inescapably and incessantly contract the virtual into the actual.

 

Liminal explores the relationship between subjectivity, noise and immanence through recordings of daily “noise-scapes”. While interacting with the installation the body of the viewer also becomes a medium through which the work is realized. In the interpolation of ourselves into the work, this involvement, there is a becoming. A becoming that lacks a subject distinct from itself. If we cease to objectify the work then the space between author and reader, artist and viewer, composer and audience ceases to be one of maker-receiver but are inseparable planes embedded within the work, a single block of becoming. Within this geometry there is an unfolding of moments, durational intensities, uncertainties, effects, drives, propulsions.

 

The work unfurls in relation to the listeners position and movement creating an intimate experience of the performance and making them the author of their own experiences, offering a new listening experience on each playback. The “open” framework does not represent the logical end of the work, but an event of encounter. The work does not dodge materialization but deconstructs the methods of making the art object into a series of events. The sounds in liminal endlessly mutate across the installation, interrupted by the noises of silence. Always differentiated this is noise that does not settle, where even the column or mass of sound cannot be perceived as consistent as the pitches of the specific recordings are continually shifting. The work treats noise as not only a set of material conditions but also a dense layering of economic and social history. It is the fixing of the malleable relationships between technologies and their surrounding cultural context that creates the medium of noise.