Wall of Noise

“Da sa Herren til Josva: ‘Se, jeg gir Jeriko med kongen og hans tapre krigere i din hånd. Nå skal alle stridsmennene gå rundt byen én gang hver dag, og det skal dere gjøre i seks dager. Sju prester skal gå foran paktkisten, hver med et bukkehorn. Den sjuende dagen skal dere gå sju ganger rundt byen, og prestene skal blåse i hornene. Så skal de blåse en lang tone, og så snart dere hører denne lyden av hornene, skal hele folket sette i et kraftig krigsrop. Da skal bymuren styrte sammen, så folket kan gå rett inn i byen’.” (Josva 6:2-5)

“Så tok folkene til å rope, mens prestene blåste i hornene. Så snart folket hørte hornlåten, satte de i et kraftig rop. Da styrtet muren sammen, og folkene gikk rett inn i byen og inntok den.” (Josva 6:20)

“Outside the walls of the city, God instructs Joshua to march around it once each day for six days in total silence. On the seventh day, he has to march around seven times. Then before the Ark, seven priests blew on seven trumpets made from ram’s horns, and, as if by magic, like a sonic bulldozer, the walls came crashing down.” (Steve Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear).

“Sorry the vibration levels weren’t what they should/could have been in Turin last night. The ceiling started coming down in soundcheck.” (Kode9Twitter, 6. november, 2010).

“In its most convincing formulations, the negativity of the politics of noise is twisted into an engine of construction, and noise becomes a reservoir of rhythmic potential, a parasitic probe beckoning the future. Usually noise here, in a nontechnical sense, is black noise – the black noise that Kodwo Eshun calls the futurhythmachine. It is to black noise that twentieth-century popular music owed most of its innovation.” (Steve Goodman, Sonic Warfare).

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