M*anifesto f0r Interfer!ng Wom/en

Marie Thompson
FUTURISTS: for too long have you dominated the art of noise. For too long has noise been tethered to your bloodlust dreams of violence, destruction and warfare, your celebrations of man’s triumph over nature through his machinic extensions.

Marinetti, you should not have scorn for women, for your noise belongs to us. The women you dismiss, with their ‘frIv0lity’ and ‘ch*atter’, have a more intimate relationship with noise than can ever be achieved through forced suBmissions and bloodied penetrations of the flesh.

{Throughout the history of Western thought, women and noise have found themselves on the same side of philosophical dichotomies that have governed and legitimated their subordination. They have been locked down on the side of unreason, of madness and hysteria, of irrational non-meaning. Women’s noises, the ‘idle gossiping’, the squeals of excitement, are cast out as abject distractions. Their unpredictable outputs are to be controlled, abated.}
WomE/An as/Is noise: an INTER>%FERE’NCE within the channels of ‘reason’ from which she has been excluded.
____the ”’’Laugh of Medusa’’”___ ruptures___the linear trajectory of phallologocentrism.

Wome/an and noise share the threat of DEATH and DESTRUCTION:

 the siren’s voice is a sonic weapon.

While she has rarely been the creator of the machine, she has often been its collaborator and as such, has found herself as the gatekeeper of noise. She sits in front of the switchboard, connecting and// disconnecting///
WAIT: this intimate connection between women and noise is not one belonging to metaphysics; noise is not her essence. These notions of women as unreasonable and unpredictable are creations of history, culture, politics.
Likewise, there is nothing inherently violent, destructive or torturous about noise.

[(Noise is not a sound. It is an affect with effects.)]

Noise is first the ruPTUre. As such, it does not only diminish and destroy but also produces, creates, enhances. It remains autonomous from the forms it takes, the bodies it occupies.  Only second is it unwanted, unorganised, unreasonable: these issues are contingent.


[When I make noise, I do not want to hurt you or make you submit. I am not trying to represent the scream of the cruel, cold metal-tech world. I want to make you feel. I want to bring you to the materiality of your body: to make you feel the joys of the visceral existence that women have been condemned to in the name of their reproductive organs. I want to lock you in and draw you out. Both/and. You never know what you might feel. – YOU KNOW NOT YET WHAT A BODY CAN DO]

Talk of the sublime often forgets the triumph of reason. With noise we have the persistence of INTUITION over concept.

Noise politics = Cyborg politics = gender politics

Noise gives voice to Donna Haraway’s Cyborg
The Cyborg dwells on the border. It refuses the dualisms between nature/culture, natural/unnatural, human/machine. It is completely without innocence: IT is the offspring of WAR, PAtriARCHY, CaPitalism. BUT Cyborgs do NOT fit the oIDEpal narrative: it does not abide the law of the Father and thus, has no loyalty to the figures that haunt its past. As such, it may become a noiSe within ThE systems that gave birth to it.

Haraway’s Cyborg IS NOT WOme/an – in an AgE of pacemakers, CONtact lenses, AvATars: ‘We Are All Cyborgs’

Music/noise? Wanted/unwanted? Meaning/non-meaning? May our noise remain incompatible with neat, dualistic logic: that which has sought to abate us.  
Let us make a MesS. Let us use our noisy, machinic collaborations for Destabilizati0n NoT DOMinatiON. Let uS use them to UnDerMi.ne the power structures that have rendered us noise.
Let us make use of tHe rupture.

Works cited

Cixous, Hélène. “the Laugh of Medusa.” Signs 1.4 (1976): 875-893 Web. 25 Nov. 2011.

Haraway, Donna. “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century.” Simians, Cyborgs and Women: The Reinvention of Nature. New York: Routledge 1991. 149-181. Print.


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