OWN SCENE: HARSH NOISE AS A COMMUNAL SOUND

Noise, often dismissed as an act of negation, can equally be understood as an act of construction - a space in which every element exists in tension yet on equal terms. In the context of DIY culture, sound is not simply an artistic medium but a territory of interaction, one that dissolves the boundary between the individual and the collective, between authorship and environment. This composition does not adhere to a linear structure; rather, it operates as an acoustic topology, where frequencies push against one another, resisting hierarchy while remaining inextricably entangled.

The use of transistor harsh noise in this work is an intentional refusal of referentiality. Unlike sound that captures or documents, this noise remains radically open, resisting imposed meaning and allowing for infinite communal projections. In its dissonance, it does not obscure connection but instead redefines it - proposing a model of engagement where intensity, rather than clarity, becomes the primary mode of exchange. It is in this overwhelming sonic presence that a new form of collective experience emerges: one based not on recognition, but on shared immersion in raw, undifferentiated energy.

Within the conceptual framework of Kommunal Praksis, this work challenges conventional notions of togetherness. Can we conceive of a community not as a network of identifiable voices, but as a dynamic sonic process - one that thrives on flux, instability, and friction? Here, noise does not signal absence; rather, it foregrounds the very conditions of communal existence, where the dissolution of rigid structures becomes an act of radical presence. Transistor harsh noise, in this sense, is not merely a sound but a field of resonance - an evolving space where belonging is not given, but continually forged in vibration.

In this context, harsh noise becomes an act of resistance against predefined structures of artistic and social belonging. Unlike traditional musical or institutional frameworks that dictate clear hierarchies and roles, noise operates on a principle of decentralization. It rejects melody, harmony, and narrative, creating a raw, open-ended space where meaning emerges not from imposed order but from the listener’s immersion in pure sonic force. This chaotic soundscape mirrors the nature of self-organized communities, where relationships are fluid, temporary, and shaped by the continuous negotiation of presence and absence, signal and distortion.