Exposition

The Hiss of Data (2018)

Cormac Deane
open exposition

About this exposition

This article conducts an examination of the connections between the fantasy user interfaces (FUIs) of computers in the television shows 24 and CSI and the sounds that they emit. The resulting sense of computational activity produces what might be characterized as a digital subjectivity. The significance of this kind of subjectivity is considered in relation to: the historical context of contemporary television/cinema (‘TVIII’); the apparently cybernetic tendencies of complex screen environments; and the political ramifications of a logic of computation. The competing claims of the sound and the image to be the prior, determining factor are discussed. It becomes clear that the distinction between what constitutes information and what constitutes noise (audio and non-informational) is a key problematic both within the screen narratives in question and in the broader media environment that they occupy.
typeresearch exposition
keywordsTVIII, CSI (Crime Scene Investigation), 24, Fantasy User Interfaces (FUIs), Noise, information, computation, digital subjectivity
date17/02/2016
published27/06/2018
last modified27/06/2018
statuspublished
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/251878/251879
doihttps://doi.org/10.22501/JSS.251878
published inJournal of Sonic Studies
portal issue03. Issue 3


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nameUX Week 2010 - Mark Coleran - The Reality of Fantasy
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nameExperiment- Analog Oscilloscope sound Visualizer project - Noise Yoga-SD
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nameOramics Machine, Daphne Oram, BBC Click Jan 8, 2012
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nameDolby Digital - Train
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nameThe Conversation 1974 - Murder Scene (short)
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nameColeran Reel 2008.06 HD-HD
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nameCSI Surface Computing
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