Sound of the Year: 2013 – The Tap-Tap Tapping of Internet Surveillance

Image Courtesy Alberto Racatumba

In May 2013, an infrastructure analyst by the name of Edward Snowden, working for US defense contractor Booz Allen Hamilton, arranged to meet with documentary filmmaker and journalist, Laura Poitras and Guardian commentator Glenn Greenwald.

The meeting took place in Snowden's Hong Kong hotel room after he had fled the United States with a trove of classified information which revealed a 'systematic surveillance of innocent citizens', and which he was now about to reveal to the international press for public scrutiny and judgement.

What ever the final legal opinion of his actions, or one's own opinion of Snowden (traitor, idiot, whistleblower), he expressed his intentions as well meaning:

“It’s important to send a message to government that people will not be intimidated.”(The Washington Post)

On June 7th, after an initial examination and two days after the initial published report of Snowden’s leaks, major outlets reported that “the NSA is accessing the systems of US internet giants including Google and Facebook, and collecting data under a previously undisclosed surveillance programme called Prism. The programme allows officials to collect material including emails, live chats and search histories." (BBC)

Additional NSA documents leaked by Snowden indicated that the NSA had also extended its  practice of casting a wide digital net on both the leaders and citizens of several allied nations.

The sweep inlcuded 70 million digital communications in France, in just one 30-day period alone, between Dec. 2012 and Jan. 2013; and it also revealed that the agency had tapped German Chancellor Angela Merkel's cell phone for a decade. Naturally, she and other leaders across the globe expressed outrage.

Certainly, both wire and web tapping have long proved a valid and acceptable means to protect the populace from criminal endeavor. However, the legal interception of electronic communications has typically required a warrant and is usually limited to those communications that meet a stringent standard of relevance to a specific case.

In the United States, in order to obtain a warrant, the FISA [Foreign Intelligence Surveillance Act] court typically requests the production of records "pertaining to a specific named target who is suspected of being an agent of a terrorist group or foreign state, or a finite set of individually named targets."

Snowden has since been granted asylum in Russia, although his residence in that country is limited to a year. Meanwhile back in the United States, mention of the erstwhile Booz Allen cyber spy continues to ignite heated discussion, as he is defended as a whistleblower by his supporters, and called a traitor by others.

How this story finishes is anyone's guess at this point.

Either way, as a result of Mr. Snowden’s explosive revelations and the ensuing international clamor they caused, the the 2013 Critical Noise Sound of the Year is awarded to the Tap-Tap Tapping of Internet Surveillance.

+ + +

HOW THE SOUND OF THE YEAR IS SELECTED:

The Critical Noise Sound of the Year goes to that sound source, event, entity, happening or concept which so effectively produces wide response and reaction, whether intentional or not, such that it stirs collective emotion, inspires discussion, incites action, or otherwise lends itself to cultural analysis and resonates across the globe.

Prior Sound of the Year winners include Pussy Riot (2012), The Cry for Freedom (2011), The Vuvuzela (2010) and Auto-Tune (2009)

From Media to Management

Image Courtesy liladepo

The hardest lesson I had to learn in my professional development from producer to Executive Producer is that:

Neither sales nor doing is leadership; Communication informed by empathy and purpose is leadership.

But maybe you don't even want to be a leader; delegation can feel like an awkward at first, while others are simply uncomfortable giving up control.

Or maybe all you ever wanted was to be a professional artist, a working composer or film editor, but along with acquiring professional success, you also acquired a staff. Suddenly, you've got mouths to feed and you spend less time making cool stuff, and more time running a company.

Nevertheless, for whatever reason, you may not want to accept the responsibility that comes with your job title.

One Executive Producer confessed to me that she didn't want to do sales. "But that's your job," I said. I wasn't being arrogant or pompous; I was simply stating a fact and the sooner she accepted that, the sooner she would reap the benefit gained by assimilating to her actual role, not the role she had in her head.

The fact is, the moment your job changes from artist to strategist, and you go from coordinating tasks to managing projects, then you're a leader. Whether you want to be a leader is irrelevant; if you have people under your charge, then the only thing that matters at this point is whether you're going to be an effective leader or an incompetent leader.

If you're any good at your job, then one day it will stop being just about Crayola crayons, or Adobe Creative Suite, or Autodesk, or ProTools, Davinci Resolve or whatever you count among your creative tools. You'll still have tools in your belt, but you'll also have people in the truck, so to speak. You'll gain a few more responsibilities, and with them will come the obligation to actually learn new management skills. In no particular order:

• Leadership is now your job.
• Communication is now your job. 
• Community Building is now your job
• Empathy is now your job.
• Strategy is now your job.
• Purpose is now your job.

Do what you other people before you have done to do to figure it out: read books, find a mentor, take a class if you have to, but don't permit yourself to turn into an obstinate jerk just because when you came up through the ranks, you worked for an obstinate jerk, and now you think, well, that's just the way you do it in our industry.

Here's a tip: an overwhelming number of psychological investigations and research into human learning suggests that the use of positive reinforcement in changing behavior is almost always more effective than using punishment. And you don't have to take my word for it, go ahead and Google it.

–And then, Good Luck!

Music Production Techniques That Apply to Real Life

• Balance your levels.
• You need a hook.
• Timing is Everything.
• Roll off all unnecessary frequencies.
• Don't get stuck in a loop.
• Remove noise between important moments.
• If you crank up the volume there's no place to go.
• If input rises above threshold, reduce level.
• Regularly Boost, Sweep and Cut.
• Cut the offending frequency and tighten up your Q. 
• Mix with Multiple Speakers
• Three properties essential to both sound waves and making waves: Amplitude, Frequency and Phase 

Pussy Riot: Hooliganism or Heroism

Image: EPA/KERIM OKTEN

Has any popular artist or band in the new millennium mattered any more than Pussy Riot?

From the beginning, the members of Pussy Riot risked subverting their political message with same flashmob tactics and theatricalized sexuality that they employed to gain attention in the first place.

That group members freely combine Realpolitik and Porn within and beyond the conceptual limits of the Pussy Riot project  also suggests the band is not simply an act, but a lifestyle bent on disrupting culture by lobbing incendiary cognitive dissonance devices directly into the public consciousness.

For one, their balaclavas resemble as much bondage hoods as ski masks; for another, one group member has been reported as being an orgy participant; and yet another alleged member of the collective, participating in a non-Pussy performance piece, if we can call it that, stuffed a frozen chicken into her vagina.

The imaginary mental picture I hold of that performance resembles Caesar van Everdingen's 'Woman Playing a Cittern' made over by Andy Warhol and presented by the Symbionese Liberation Army Puppet Theater Company: at turns funny, repulsive, beautiful, titillating, shocking and despicable.

Of course, some decent folk will resist the notion that a woman with a frozen chicken in her vagina is capable of serious intellectual energy, even if at the same time they ably accept a government whose members are also full of something, and yet also still capable of determining serious matters. After all, somebody is buying dildos in Washington, D.C. and Westminster.

One might reasonably argue that porn is never an appropriate tool for the feminists' arsenal, however, the chicken action is not without precedent. For many, 'How to Snatch a Chicken' is fairly reminisce of a another classic and similarly foodcentric act of defiance: 'The Return of the Chocolate-smeared Woman', by American performance artist, Karen Finely.

In this 1994 piece, that artist smeared her naked body with chocolate with the intention that the act be considered a rebuttal against the U.S. Government's legal threat to impose restrictions on grants for 'indecent art', and specifically her own work (National Endowment for the Arts v. Finley).  And as with Pussy Riot's defense against the Russian government, Ms. Finely also lost her case.

She was, however, was awarded a Ms. magazine Woman of the Year award; and today, Finely  teaches at NYU's Tisch School of the Arts.

So, it may be that long after their jail sentences fade from the press and public memory, that academic appointments and mainstream professional acceptance await the members of Pussy Riot. And if and when that time comes, it may be your children that they arm with their ideas and ideals, the ideas and ideals necessary to question authority where and when others dare not.

But don't be alarmed, it is, actually, a pro-democracy message that both Finley and Pussy Riot deliver.

Suffice to say that that there are many who though otherwise sympathetic to Pussy Riot's message,  they simply find the group's tactics too offensive or annoying to give their political motivations any thought or credence.

Even among Pussy Riot's activist fans, many misinterpret the group's message. Some project their own politics into the Pussy Riot agenda; others have simply leveraged the Pussy Riot situation and look for their own personal cause. But no wonder why! Pussy Riot's performance at Moscow's Cathedral of Christ the Saviour, and the group member's subsequent persecution presents a successful paradigm to arts activists.

As Nadezhda Tolokonnikova noted at the end of her trial:

"Every day, more people understand that if the system is attacking three young women who performed in the Cathedral of Christ the Savior for thirty seconds with such vehemence, it only means that this system fears the truth, sincerity, and straightforwardness we represent."

She also explained that the lyric, 'Holy shit', was not meant as a blasphemous attack on the church or the religion, but merely represented 'our evaluation of the situation in the country'.

In the band's defense, Amnesty International's Michelle Ringuette framed Pussy Riot's performance as 'a peaceful protest song in a Russian Orthodox Cathedral that lasted less than a minute' .  Even one band member, Yekaterina Samutsevich, described the Cathedral take down as a display of 'innocent creativity'.

Certainly, these statements were presented only at the service of their defense, however, because they greatly undervalue the impact of the group's punk prayer. If 'Mother of God, Drive Putin Out' were merely a peaceful song, the women would have failed in their mission. But they did not fail. By the standards by which dissident art is measured, they succeeded and succeeded wildly.

Not to mention that even when presented as pure entertainment, theater is never innocent. And certainly, no one hijacks a church alter and says or sings "Holy shit, shit, Lord's shit!" who isn’t trying to shock and provoke a strong reaction.

Either way, that Pussy Riot's musical actions in the Cathedral  might be a justified measure against a tyrannical state will certainly be a subject of never ending debate, which means that Pussy Riot's punk prayer will to continue to resonate in the public consciousness for many years to come.

The Audio Mark as a Storytelling Platform

Image by: Craig Cloutier

Music, as we know, comes in many forms. And one person's music is another person's noise.

Readers of this blog know I'm fascinated by microstructures; that is, those forms of noise and aural expression that may not represent complete 'works' as we think of the concept, but which nonetheless capably convey meaning.

THE DESCENDING CADENCE AS CLOSING STATEMENT

For instance, where one single pitch might convey neither music nor meaning, two pitches in a sequence –if they are the right pitches– might serve to conclude a story, a song, or even an event, such as a religious service. The two pitches in question are, of course, IV and I, which we know as a 'descending cadence', and which together package enough signification in one descending step that whenever they are deployed, everyone within earshot receives the exact same message: This is where the story ends.

THE AUDIO MARK AS INDEPENDENT SIGNIFIER

As it happens, it is the identification and contextualization of such nano sized musical expressions that provide the underlying conceptual framework whenever we are commissioned with the construction of an AUDIO MARK (and whether we are conscious of this activity or not).

For this reason, I do not always think of an Audio Mark as a micro musical work itself, but instead as a communication asset composed of sonic elements, especially in regards to non melodic marks. Such composition is often closer to sound design, in my mind, being born of qualitative research, analysis and a methodical construction process rather than simply inspired composition.

The outcome of inspired composition is not always immediately apparent, nor the activity always directed. When making music we may simply want to entertain; and the music may have no reason for being at all, except that we conceived it, either as formalized composition or improvisation. In contrast to this common artistic process, the construction or design of an Audio Mark is always crafted with purpose, and often to a client's detailed specifications. Thus, if the outcome of traditional composition can be said to be our moods set to music, marks represent the attempt to package data into non verbal sound. In other words, we are asking ourselves how sound may be used for signification.

This process is not limited to commercial branding; it has long been used in the creation of scores whose themes and other elements might serve to indicate an actor, an animal, the weather, or something else.

But when our task is branding, then much like a Morse code pattern, our intention not so much to create an entertaining rhythm but to package data in a way that a given audience can and will actually decode the resultant sonic expression And if the message is not so distinct as to be unintelligible, and coded with cultural conventions in mind, then there actually stands a very good chance that it will be received and understood.

THE RINGTONE AS BRANDED ALERT

While music fundamentally suggests mood, I believe that brands –if they are to live in the world as semi or crowd conscious entities– shouldn't be defined or limited by the results of a mood board alone. What kind of actual person only possesses a single mood? Psychopaths and sociopaths. Certainly,  some management teams might be accused as lacking empathy, but when crafting identity assets for a client, one should create assets that might be made to respond in the same manner as healthy human attributes. To put it another way, our moods ebb and our reputation might change, but our identity is generally regarded as stable.

Identity assets should therefore be responsive, and crafted in a way that allows for scale and variation. Easier done in print with size and color; and easy still, if our mark is melodic in nature, but somewhat more difficult if the mark has been produced as an immutable sonic construction, for instance, when designed as a parallel experience and synchronized to a specific moving image. Nevertheless, if we want a mark to carry, then it must possess the capacity to scale infinitely, or at least within a set of parameters that we identify as true to that specific identity.

This is not to suggest that every mark be designed as a musical motif, though the two concepts in their most popular forms share similar characteristics.

But something very different happens when we hear a mark than when we listen to a motif. A strong mark will be perceived as a whole entity and independent of any other asset within the same single framed context.  Motives, on the other hand, while they may express variation, are perceived as dependent on other assets within the same single framework.

Motives, on the other hand, are deployed in such a way as to produce continued delight and interest with every variation. Indeed, we might even define traditional music not as organized sound, as is the convention, but as any construct that employs reiteration and also, the thematic variation of a pattern. Given this definition, the thing might not even be aural, which is why we can look at the sky or the ocean, or  even traffic, and describe it as a musical experience.

Music is essentially patterns at play.

And it's also why we may not always frame an Audio Mark as a musical work. It does use elemental musical sounds in its construction, but it is of singular design and voices so quickly any inherent patterning is either lost or non existent. Repeat it again and again without variation, and while the result will likely demand our attention, it may equally be perceived as annoying if the alerting sound does not signify incoming important information, hence our response to Ringtones.

We can very easily design interesting or pleasing ringtones, but our perception of any ringtone will nevertheless be shaped by the user and those nearby.  We might even forgo the repeating tone, riff or sample and actually trigger a complete work with each incoming call, but it even high fidelity rendition of recording of 'Ode to Joy' by the Berlin Philarmonic might strike another commuter as irritating if the phone's owner continued to receive multiple calls between Dover and Brick Church.

And it may be that the Alert construction is the most effective construct for a Ringtone simply because it frames the subsquent experience as one of information processing.

THE BROADCAST STING AS CONTROLLED DISRUPTION

Melodic audio marks also share some similar characteristics to another form of sonic identity asset, being THE BROADCAST STING. Both Audio Mark and Broadcast Sting serve as a form of conceptual punctuation that sends a single message –again, like Morse code. But unlike Morse code, we do not want to hear either a sting or a mark repeat within a single context. Or if it does repeat, the inherent message of both the sting and mark become diminished by the sense of urgency conveyed by the repetitive aural experience. Alternately, if this is the desired effect, then the message is simply reduced to 'URGENT'.
 
Of course, all four forms of micro musical expression discussed here –The Audio Mark, the Descending Cadence, The Ringtone and The Broadcast Sting– are designed to work like zipped semiotics, which once open, a given marketer's message will be decoded and delivered.

I've participated in the production of several network package music and sound design projects: CNN, ESPN, HBO Zone, MTV, PBS and VH1, to name a few.

Interestingly, The Broadcast Sting is the only expression of the four that is not constructed as an independent statement. Ending on an anticipatory high note, the Sting, while designed to brand a television station, network or cable channel, is also designed as an open ended inconclusive element, which if we compare to sentence structure,

suggests interruption. The Sting thus requires a listener/viewer to wait until later (typically, 'after these messages') before being 'rewarded' with aural or musical closure (finishing the sentence). Indeed, the Sting does not so much announce who he is, as he compel us to wait another moment before closing with a big reveal.

Whatever construction is appropriate to the task, the message is clear: even micro musical structures can be employed in the support of storytelling; and a skilled sonic artisan can capably convey a lot of non verbal information in mere seconds, and sometimes in even just one second.

Sound of the Year: 2012 – PUSSY RIOT

Photo Image from Pussy Riot's website.

On February 21, 2012, five modestly clad Russian women entered the Cathedral of Christ the Savior in Moscow, Russia.  And once inside they cast off their black outer wear to reveal brightly colored skirts and tights beneath. Then they pulled equally colorful homemade ski masks over their faces and stormed the front of the church whereby they launched into 'Mother of God, Drive Putin Out', a song that has also been called a 'punk prayer'.

The quartet, composed of several members of the arts activist collective, PUSSY RIOT, staged this bit of disruptive theater as a form of political protest. And in their punk prayer they loudly appealed to the Virgin Mary to chase the Russian leader, Vladimir Putin, out of power, along with the oppressive patriarchal political system that they've said Putin represents.

That none of the performers actually played a musical instrument suggests that it was probably not the actual song itself that captured the world’s imagination, but rather how the Russian authorities reacted to this performance that rushed others to their support and pushed the band into the public eye.

First, when news of the group's arrest and a video of the performance was posted online, it created a divide between those who were morally offended by their actions and those who were outraged by their incarceration. While the former argued the the ‘girls’ perhaps needed a bit of manners knocked into them, the latter found inspiration in four strong freedom fighters whose swift silence by the Russian state made their situation a cause célèbre.

That the members of Pussy Riot also looked equal part Teletubby as they did Terrorist gave fashionistas as much a reason to talk about the women's creativity as their politics stirred journalists and Human Rights groups to action. Add to this milieu the ongoing social unrest in the Mideast framed as an ‘Arab Spring’, and the Occupy protests in America, and the members of Pussy Riot seemed to provide yet another potent and creative symbol of ongoing global change.

Which is why, if "We Are All Pussy Riot" as the band's slogan suggests, it's not because of any universal appeal attributable to their music. It's because they came onto the global scene like costumed superheroes and arrived into a world whose economies and power structures seem universally in need of severe disruption. Perfectly suited for the role, icons they became.

As a result, not since the Beatles has one band earned the interest of so many so quickly. And the last band to irritate a state to such a degree were the members of the The Plastic People of the Universe who in the seventies suffered arrests, convictions and even deportation at the hands of the communist Czechoslovakian government. But in a pre-Internet age, that band’s efforts was largely muted to the west by an insularizing Iron Curtain. –Even if inside the country these injustices would inspire Václav Havel and other Czech intellectuals to further resist and change the system.

Certainly, many artists work under despotic conditions, but unfortunately most lack the perfect combination of creative strategies, social networks and political motivations to achieve global recognition for themselves or their cause. Thus, they continue to struggle in near or complete anonymity.

What makes Pussy Riot different, on the other hand, is that whether through politics or poetics, the group seems to offer something that everyone can relate to on a personal level.

And that's why Pussy Riot inspires and fascinates; all of us can identify some aspect of their art or purpose to relate or react to, whether we admire their tactics as performers or debate their efficacy as change agents.

And that’s why Pussy Riot strikes some as the only band that matters today.

And that's why Pussy Riot, with their riotous, rebellious punk prayer, 'Mother of God, Drive Putin Out', is the 2012 Critical Noise Sound of the Year.

+ + +

HOW THE SOUND OF THE YEAR IS SELECTED:

The Critical Noise Sound of the Year goes to that sound source, event, entity, happening or concept which so effectively produces wide response and reaction, whether intentional or not, such that it stirs collective emotion, inspires discussion, incites action, or otherwise lends itself to cultural analysis and resonates across the globe.

Prior Sound of the Year winners include The Cry for Freedom (2011), The Vuvuzela (2010) and Auto-Tune (2009) 

Branded @ Birth™

Regardless of one's cultural background, primary language or education, some people believe babies call their mother ‘MA’ (or some version thereof) not because they’re taught do so, but because they’re programmed to do so.

This theory stipulates that just as humans are born with certain physical body parts, we're also born with a bit of a pre-birth cognitive fodder called ‘Archetypes’.

In Jungian psychology an archetype is described as “a collectively inherited unconscious idea, pattern of thought, image, etc., universally present in individual psyches.” (Dictionary.com)

There are many fascinating aspects about this, if it is true, not the least of which is the implication that we are all Branded @ Birth, and then start from the very beginning of our lives branding every single thing around us (as products of our reality, our culture, even our imagination).

If this is indeed the case, then archetypes presuppose culture and are neurobiological in origin. We might then say that archetypes exist within the black box of consciousness as pre-programmed urges to express certain behaviors. These primal urges first take form as intuitive actions that are then instagrammed as  symbols intended to represent the action or capture the meaning of these urges.  That is, rendering symbols is the manner by which one documents an impression, applies a cognitive filter to it, and then shares it with others.

If every urge represents a fundamental need or desire, then every symbol is essentially a command. And these commands once produced and distributed/transmitted/communicated –put into action as it were– exhibit memetic potential.

Perhaps this potential is even the result of archetypal recognition by those receiving the transmission. But the additional result of this eternal loop is a complicated matrix of understandings and conventions we call culture. And one might also say that the reverse engineering of all this resulting symbolic data is what we now call semiotics. This could all be academic, or it could be navel gazing, but I still find it all very fascinating to consider; the mind reels.

What is the zeitgeist anyway?

We might think of zeitgeist as a series of trends, but by my calculus it's semiotics in motion; an archetypal tsunami; symbolic data moving culture the same way a strong current moves a floating object. –But equally influenced by an undercurrent of ideas and prior actions that collectively effect the NOW as they move beneath the visible surface of society, and in this way capably move highly ingrained and even resistant convictions great distances over many years, even decades, centuries and millennia.

Of course, if we define archetypes simply as pre-birth patterning, then animals are also endowed with them, and we can suppose that any instinctual activity has at its source archetypal data. It may not be enough to ask if the dog's bark is worse than his bite, but also inquire what does either bark or bite mean?

In any event, the notion of archetype supposes we arrive into the world if with not a song, then with an elemental sound already formed in our heads (or the urge to produce a sound), and that is the sound of our mother’s name –at least the name by which we will call her. Again we are branded at birth, imprinted by a distinguishing mark that identifies us as no less than a product of our Mother.

By the way, some people also believe we do actually arrive into the world with a song in our heads. It's called 'The Ur-song' and you can hear what it sounds like by playing the following video (the melody here is played straight; it is also often heard with a swing):



Incidentally, because the vocalized ‘ma’ signification precedes graphic representation, I like to think of it less as an archetype than as an ‘Archetone’.

I also think it might be true that ‘ma’ doesn't bear any archetypal or pre-natal psychological origin, but that it ehibits universal usage simply because nursing mothers interpret ‘SMA’ –the sound of lips un-puckering from a kiss or breast– as an attempt to communicate. (And by extension, ‘DA’, the sound of one opening one’s mouth when one’s tongue has been stuck to the roof of it).

Once believing their baby has begun speaking, parents might then reward a child with further affection. And by this action they thereby reinforce a lip-smack as as an appropriate designation for a god like being by an utterly helpless moppet.

It’s not quite as romantic an etymology as being in possession of an ancient archetype, but who’s to say it’s wrong?

Whatever the mechanics, 'ma’ becomes a meme, and eventually ma becomes mama becomes mom becomes mother, and this is how mommy goes viral.

If you have any interest in memetics (the study of cultural transmission), one can’t help but ask if ‘Ma’ is the smallest unit of cultural transmission exhibited in early childhood development?

–Or is there something smaller than 'ma' to be found; something that lies between archetypal urge and symbolic utterance? I believe that there is, and that thing is the actual sound of the baby’s natural and not-quite-yet semantic cry.

Although, I’m not really sure that such a cry can't be designated as non memetic because I've heard one baby set off a dozen other babies, as if they were all part of a single coddled swarm.

The fact is, any human behavior can trigger an action which once repeated becomes a pattern, and then, at that point –at the point of Pattern Manifestation– it finally assumes the potential to be transmitted along a memetic distribution system.

Or rather, it exhibits the power to trigger replication from one host to another: you, me and mommy, too.

It’s as if the archetype once given voice as an archetone, the entire process resembles nothing so much as a musical Ouroboros –the mythical image of a serpent eating its own tale, and thus forming an eternal circle.

Pussy Riot and the Emerging Power of Women

Interestingly, Pussy Riot’s punk prayer continues to agitate and inspire. It also lends itself to the reflection and analysis of other cultures and societies well beyond the Russian Federation. That is, Pussy Riot is a lens with which we can use to examine any tier of any society. We can ask ourselves, where ever we live in the world: 'What does Pussy Riot say about Thailand?' or 'What does Pussy Riot say about America?, for instance. Which is why, when we do tilt that lens to the west, one can't help but notice that forty years after punk rock's inception:

• It’s 'girls' who demonstrate that the spirit of rock is not dead, though it may very well appear to be at times in places like London or New York, or anywhere, actually, where music is only made to be licensed for a commercial or otherwise lives to serve as a soundtrack for a a spin upon a treadmill or around a shopping mall.

•  It’s 'girls' who emerge as freedom fighters and who set the unequivocal standard for arts activism.

• And it’s 'girls', again, who managed to rattle the Kremlin; and it's 'girls' who now suffer harsh legal consequences while one can simultaneously imagine a billion men that simply prefer to watch the whole thing play out on their smartphones and digital tablets.

In other words, how or whether Pussy Riot's punk prayer changes anything in Russia is perhaps not even the correct question. For many people, the more relevant question is: 'How has Pussy Riot changed me?'

And also, Pussy Riot’s rail against patriarchy no doubt will survive as a sign of the times, and not just as a bit of music history but as a symbol of the emerging power of women in the 21st Century. For, indeed, women can be seen to be taking an increasing lead in ideas, inspiration, cultural advancement and political influence, and they are doing so all over the world, and at all levels of society.

Besides Pussy Riot, other notable examples of this shift can be exemplified by Marissa Mayer, CEO of Yahoo!; Secretary of State, Hillary Rodham Clinton; Malala Yousafzai, the young Pakistani educational activist, who survived an attempt on her life by the Taliban; Italian particle physicist, Fabiola Gianotti, who is said to lead the largest scientific experiment in the world at the Large Hadron Collider at CERN in Switzerland; and Ellen Johnson-Sirleaf, President of Liberia who is oft quoted for telling a group of Harvard students, "If your dreams do not scare you, they are not big enough."

Certainly, the women of Pussy Riot have also made a similar achievement in the area of Arts Activism and Culture.

But maybe you think Pussy Riot’s punk prayer is just Riot grrrl styled punk rock or maybe you think it sounds like Beastie Boy styled rap; or maybe you think that it’s not music at all – just a bunch of yelling and angry noise. It all depends on where you stand aesthetically and philosophically. But while it might sound like the sound of something dying to you, it's also the sound of something being born; and that something is the future itself.

Extra Musical Expression

Medieval Musicians

If we accept the notion that a melodic hook or motif and musical meme are synonymous with one another, we must also accept that a meme is not simply a unit of cultural transmission, as Richard Dawkins initially posited when he coined the word, but the smallest possible unit of cultural transmission, as others have since suggested. And once we do this we will also realize, like physicists parsing the atom, that still smaller units of symbolic data play upon the ear drum with each resonant beat or note.

NOISE AND NUANCE

Certainly, both musicians and audiences know that a successful musical performance requires more than simply the dry execution of composed notes from a page or memory. That whether one puts it in these terms or not, it also requires the deliberate production of interstitial noise by the performer, not to mention other substrates of sonic data, which we might call Nuance or Quantum Audio, and whose production allows for a more efficient transmission of a given meme.

For instance, the play of bow placement relative to an instrument's bridge; the weight and pressure employed by the performer's arm on the bow; and add to this, a  sufficient use of rosin, and  all these variables and more can be used by a violinist to shape the ratio of generally noisy artifacts caused by the friction of the bow upon the string, and the tone produced by the vibrating string itself.

Similarly, singers and those who play brass, reed and woodwinds can also shape tone simply by changing the balance of air to pitched sound.

In either case, while the meme is capably notated, the scale of these synchronous and sometimes very nearly transparent expressions often inhibits our notation of them. This may not be true for all forms of notation, but it is generally true for traditional scoring, which despite the capacity to indicate general dynamics, is primarily a shorthand for transcribing pitches than it is a system for communicating extra musical expression, –not to mention non musical collateral.

Nor does a term such as nuance, which implies a set of actions singularly controlled by the performer, capture every facet within the 'performance framework' that might serve to fulfill and satisfy listener expectation. Architecture, for instance, is generally beyond a performer's control, but no doubt the resulting acoustics of a given environment contribute to the perception and reception of a work.

CONTEXT AND CARRIER

Take for example, the liturgical chant. Based on prior experience of liturgical chants, any subsequent liturgical chant requires delivery within a cavernous space, if one's intention is to deliver an equivalent experience as that provided by the genre in question. Otherwise such a work may fail or fall short as a carrier of the intended set of symbolic data.

It is certainly possible to make a recording sans extra musical sound, interstitial noise and sub memetic data. And in fact, this actually appears to be the prevalent trend. Indeed, noiseless recording has long been and continues to be a measure of perfection for many musicians, engineers and audio enthusiasts. And presumably, there will always be those who believe the very definition of a recording suggests any captured material should serve as the optimal document of a given work. Further, the concept of 'optimal' will suggest a precise performance (whether man made or machine modified) that features purity of tone, accuracy of pitch, consistent timing and intelligible signification.

And yet, no doubt, it is also just the opposite of all those things, employed with great artistry and captured on the recording medium by a discerning engineer, that makes the transmission of music more than just the sum of its notes, but an expression of the soul.

A Sign of the Times: The Semantic Terrorist

Naturally, one can't help but make comparisons with controversial performers. Neither Madonna nor Sinead O'Connor, for instance, are strangers to provocation. However, they were already global superstars when their offending actions threatened to derail their careers.  In contrast, Pussy Riot's illegal in-church protest was actually the thing that transformed this theretofore little known arts collective into a worldwide punk rock phenomenon.

Similarly, the Sex Pistols railed against 'the Queen and her fascist regime,' as well as their record label, EMI, but the motivation behind those efforts is debatable given the band’s parallel efforts to sell records and gain celebrity.

Bob Dylan, Bruce Springsteen, U2, and many others, too, pen songs of protest, but like the Sex Pistols, their tunes are as much sentiments of social consciousness as they are product.

Interestingly, it may also be that not since Kabuki styled, fire breathing, glam band Kiss launched their act in the mid seventies, that any single rock group has achieved such wide interest largely based on signification codes, i.e. Pussy Riot's 'look' is as much vehicle for  their ideas as the lyric to their punk prayer. As a result, the band's semiotic strategy actually makes the music irrelevant to one's appreciation of the group. As it should be: for commercial groups all activities are meant to create a funnel towards product; but in the case of Pussy Riot, the music is a  conduit for regime change.

In this regard, the women of Pussy Riot appear to be first to concept with a new breed of 21st Century performer and change agent: The Semantic Terrorist; that is, an agitprop art bomber with the marketing acumen of a brand strategist but who doesn't give a sh*t about selling you anything.  

Indeed, it's likely that we'll see and hear from other Semantic Terrorists as others rise and join in the chorus of the Great Connected Global Disruption that defines our era.

But what exactly do we find so captivating about the Semantic Terrorist?

In a world where advertisers are increasingly replacing record labels as ministers of culture; when economies are crumbling under the weight of outdated precepts; when politicians think it more expedient to silence the voices of the weak, and protect the interests of the powerful;  the women of Pussy Riot serve to remind us that free of corporate sponsorship, blind nationalism or overfatigued groupthink, a dissident artist can get on with the business of attempting to topple a government, jail time and trendy miniskirts, not withstanding.

In a way, it's absolutely refreshing.