Epochal human changes to the planet; the so-called ‘anthropocene’, globalised capitalism, and the unprecedented hyper-networked social (virtual) realities of the internet have posed challenges to any contemporary art that seeks to achieve critical traction. As Trafford et al have noted, “…art seeks to discover… real freedom beyond politics, yet finds any image [aesthetic mediation] that ‘works’ to be complicit with structures of power “ (Trafford, Mackay, and Pendrell, 2014, p3). Rising to this challenge new theory has emerged that asks how contemporary art practice may be reconfigured and politically reactivated by the introduction of a field of ‘speculative aesthetics’.
This practice-based PhD aims at a reassessment of artistic noise practice and its potential for cultural and political agency. Interrogating the possibility of expanding recent critical noise theory by channelling fresh speculative realist ideas that de-centre the human experience and offer new perspectives beyond the human/world correlatation, I will contribute an aesthetics of noise relevant to the philosophical moment after the finitude of the phenomenal.