The truth, through the eyes of economists worldwide, is that of an incremental advantage: a signal relative to a noise. Deng Xiaoping’s famous: 让⼀部分⼈先富起来 “let a few be rich first” marks the end of an absolute truth based on ideology for China, and ultimately, the global hegemony of the concept of the sufficient truth of statistics, the relevant signal: The culture of advantage.
This relative truth only exists against a backdrop of noise; but can noise itself be displayed? Noise, it seems, is only exhibited within an environment subject to a strict hygiene regime, a space cleaned to the utmost. However, noise is no longer presented; only the frame, the white wall remains. The noise has been domesticated, it has become a defined signal. Similarly, nobody has ever heard the silence of John Cage’s 4:33. It is a situation where an interpreter merely executes a composer’s algorithm/composition in a concert hall with an audience strictly seated, not daring to move, cough or speak. With two nights of concerts, the Shanghai Biennale extends the thematic exhibition “Social Factory” to reflect on noise as a continuous process, an uncatchable, slippery, undefined in-between – the uncertain potential of society.
Saturday February 28. 7:30 p.m.
Werner Dafeldecker plays John Cage Williams Mix
Nicholas Bussmann The News Blues concert version
Sunday March 1. 7:30 p.m.
on Sunday 14:00 -17:00 is a workshop with the performers of the Shanghai News Blues open for all amateur singers to learn how to sing the news. The workshop is admission free.