Recollection Services Incorporated

For the Thursday June 5, 2025 I continue the technical report for future planned obsolescence study on the unit of power for decibel-milliwatts (dBm). I want to further analyse the technical piece on “The Art of Noise,” Luigi Rossolo’s work and relate it to Stereolab’s “Transient Random-Noise Bursts With Announcements” (1995) From Russolo’s chapter on the “Physical Principles and Practical Possibilities,” I find retro-futurist safety measures for USW/ASW acceleration.

Russolo places sound and the grandeur of noise in separate categories. Sound is the periodic vibration of matter and noise is fragmented, violent excitation of irregular, physical, vectors. Consider the vectorization of the metal plate: the metal plate produces harsh noise in isomorphic vectors. Stereophonic, creative production of technical feedback as the inversion of static, is the noisemaker’s job. One must balance three factors in a constant state of flux: pitch, timbre, intensity. The conjunctive combination for USW/ASW modulation require the production of sound. Field technicians should note the following excerpt from Russolo’s work, concerning the safe measures for noisemakers: “In the first case, the violent excitation has set the metal sheet into vibration in a greater number of ways, that is, it has produced more nodes and loops, thus being divided into several parts vibrating separately.” See: Chladni Figures/Plate

For USW/ASW, Rossolo’s concept of fragmenting the sinusoid [ ∿ ] wave function, amplification, we should analyse two tracks from Stereolab’s “Transient Random-Noise Bursts With Announcements” for failure summary & analysis report. Study the obsolescence of technical, productive connections for the noise-maker:

Track 6, “Pause” typifies nodes/loops from a state of transitive flux: from pure sound to synthetic noise.

@ 3:47 a static, unintelligible clicking.

@ 4:19 the precursor to “Lock-Groove Lullaby” (track 10) overlayed over feedback created by the pickup in close proximity to the amplifier.

Track 7, “Jenny Ondioline” is non-objectivist as the constriction of the bifurcation: tone-semitone is capitalized. The 18:07 min track forms the basis for counterpoint, various keys, scales that are placed in juxtaposition. We should note the objectivists wanted artistic works to represent exteriorities. The non-objectivists contained aesthetics from vantages of veridical formalities.

@13:37 the guitar track “… is out of phase …” suddenly the listener is subjected to the noise of irregular time signatures

@15:52 returns to clean Ondioline loops