I discussed with my group members about the final project in class. We were voting for different concepts and methods which we learnt through this course. We found that the combination of static and dynamic can create interesting effects. They are not only antagonistic to each other, but also can give people a sharp contrast. Mutual support at the same time can give people a vivid and immersive feeling. I got some ideas through the readings, classes and internet. It’s common to think that the “music” is what you directly hear—the notes that play instruments that fill up what would otherwise be empty space. But a more interesting approach is to recognize and take advantage of the fact that silence and incidental noise can be made into fundamental parts of the musical texture. “Silence” is an openness to any contingency, that is, to any sound. The singularity of the work flows into a multiplicity, first by unfolding the composite, and allowing the “supplementary detours” to fill up the surface. This surface then expands into an even wider multiplicity, in which the performers and audience join, by staying open to “silence.” Noise is resistance, or at least it causes resistance, so can never be the mainstream. We should not have the idea that noise is subjective – it is something that happens to the individual, but it is not solely driven by that, however directly painful the moment might be when you encounter a concert that is too loud, or the relentless thrum of TV-derived hit songs. It’s more interesting than that: if that’s your reaction, you are noise, you are the bit that doesn’t fit. But noise is a judgment, a social one, based on unacceptability, the breaking of norms and a fear of violence. In the coming days, we will discuss an exact theme to create a music around it.