DEKON Productions. (c)Judsen Garside 2002.

DEKON Theory!:


Contents:

Introduction

H. A. Innis

Marshall McLuhan

Arthur Kroker

Moses Znaimer

Home

*DEKON Theory!*

DEKON Productions presents DEKON Theory!

Welcome to DEKON Theory!

Listen to this while experiencing DEKON Theory!

You may be wondering what DEKON Theory! is.

DEKON Theory! is the theory that I created.

DEKON Theory! is a theory that encompasses all that is encompassed within this site.

DEKON Theory! is this site.

DEKON Theory! is the theory of noise as vernacular.

This all may seem to be a little far fetched, and ludicrous for the unprepared observer. But rest assured that I do attempt some level of coherence and accessibility in my theory.

“Get on with it!” I can hear you all saying this. Well, okay, I will get on with it.

First, I must point out that DEKON Theory! is just a part in a greater work of mine that revolves around noise music and its relationship with language. Here I will only explore noise as a dialect of sorts.

The way I see it, I believe that noise is a dialect. Noise achieves this through its basic existence. When looking around the classroom, household, or town there is always a presence of background noise.Members of Fluxus, Nam June Paik et al., experimented with sound and art through performance, also John Cage helped contribute to my theory of noise dialect. It is through the act of becoming aware of your surroundings before undertaking the feat of writing or reading that the realization of noise as language begins.

What makes speech interesting to hear? Is it the words? Nope. I believe that it is the rhythm, intonation, speed, and sound of a person’s voice that causes us to listen intently. The same applies when we read. We are conditioned to talk what we read, aloud in our minds. This way we can impart our own rhythm and intonation and speed onto the medium of print causing a transformation from picture based object to sound based wonder.

What is it that you are listening to right now? Is it based in words? Someone had to have discussed the method behind the music, effectively basing noise in language. Go and sit in a mall, or busy concourse where there are lots of people. Don’t listen to any one thing in particular; rather, listen to the world as a whole. It is the sound of the planet; the voice of the world.

I know that this isn’t the right forum to be explaining this, but it will have to do, and it also explains my point. You are sitting there completely involved within this non-existing “paper” and yet you are participating in the creation of verbal noise by being.

I’m sorry if some of this comes across as gnomic, but I am currently in the process of deconstructing my ideas, so that I might be better able to express them without causing too much noise.


© Judsen Garside 2002. Fair dealing applies.