One essay claims that it is only this phenomenon which we "secretly want, because the greatest truth usually lies behind the greatest resistance," and defines this phenomenon as a certain art form's "dreams of us." The four stages of "sacrificing," "representing," "repeating," and "post-repeating" were laid out in a book titled for this phenomenon that was written by Jacques Attali. A 1937 speech later reformed into a "credo" claims that "when we ignore" this, "it disturbs us." A manifesto origi
One essay claims that it is only this phenomenon which we "secretly want, because the greatest truth usually lies behind the greatest resistance," and defines this phenomenon as a certain art form's "dreams of us." The four stages of "sacrificing," "representing," "repeating," and "post-repeating" were laid out in a book titled for this phenomenon that was written by Jacques Attali. A 1937 speech later reformed into a "credo" claims that "when we ignore" this, "it disturbs us." A manifesto originating as a letter to Francesco Balilla Pratella outlined "six families" of this, and was written by Luigi (*) Russolo. As an adjective, this term is often applied to the Japanese musician Merzbow and the American rock band Sonic Youth. The title of a history of classical music in the 20th century written by Alex Ross claims that "The Rest is" [this term]. For 10 points, name this term often used to describe unmusical sounds such as drones and distortions.
One essay claims that it is only this phenomenon which we "secretly want, because the greatest truth usually lies behind the greatest resistance," and defines this phenomenon as a certain art form's "dreams of us.
noise [accept The Rest is Noise; accept The Art of Noises; accept Noise: The Political Economy of Music] [The essay is by Morton Feldman, and the credo is by John Cage.] 