“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.
White noise is usually used for a couple of its unique properties: its being able to cut through background noise, which leads to it being implemented in emergency vehicle sirens, and the way it can mask other distracting noises in the environment, the reason for its use in small sleep-aid machines or for masking tinnitus. These characteristics are conceptually exploited by Yuri Suzuki, a talented artist who builds mechanisms able to make sound production socially enjoyable. He built a White Noise Machine sound installation and left it in the streets of Delhi. It’s a simple machine with a big horn speaker, reminding somehow the shape of the lost futurist Russolo’s Intonarumori. It works calculating the quantity of street noise and then generate the same amount of white noise. Left in of one of the loudest cities in the world it worked quite well, especially with children (tirelessly screaming in the horn and getting the punctual white noise reply), attracted by its playful and endless responsiveness. A brilliant social machine able to turn abstract sound into universal communication.